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Movies by Matt

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  1. With most NLE’s these days, every shot includes a thumbnail of the first frame. I think a slate can really be useful if all departments focus on ensuring the slate is in frame and focused for that initial frame. This allows an editor to have clear visual slate information available for every shot as they scroll through their bin. That being said on my own projects I skip the slate. I do have timecode jammed between all devices and it works great to get things real close but I then use the waveforms for the final decision on sync.
  2. Bumping this thread to further the discussion. I’ve been using the Bubblebee system for DPA 6060’s and I haven’t had a great success rate with the double sided tape portion of it. I’m working on a project about a sheriff election and the incumbent sheriff wears a polyester (I think) shirt that makes the bubblebee tape about 50% effective. I want to continue to use the bubblebee mounts but am in need of stronger double sided tape. I’ll definitely try some of the options mentioned above. Thank you JW, m- I saw this thread too:
  3. Ahhhh bike grease…my specialty. For small quantities I highly recommend: 1. Finish Line Flouro grease http://www.finishlineusa.com/products/bicycle-greases/extreme-fluoro-grease I got into this grease from building bikes with S&S stainless steel couplers and it being recommended by the manufacturer. If you want to do a deep dive on the reasons why they chose this grease it can be found here: http://www.sandsmachine.com/ac_greas.htm I’m going to get those Rycote PCS products based off of this thread. Thank you to the contributors and of course JW!
  4. Whoops. I figured it must be on here but I hadn’t seen it. I googled it before posting and didn’t find it when I added jwsoundgroup to the search. Feel free to delete my thread. Forgive me JW.
  5. I haven’t seen this shared on JW. There’s quite a few of these videos at this point though I think this one is my favorite: https://youtu.be/ANlMM0HQxC0
  6. Thank you so much Brian for taking the time to respond that thoroughly. I’ve decided to go the XLR route, I spoke to Schoeps directly about a stereo pair of CMC1’s and this was the response I was sent, “CMC1 without capsules will never need to be matched. We only match capsules. The tolerances of the amplifiers are such small that they do not affect the stereo result in any way compared to the capsules. So you just may order two CMC 1 and use them with the matched capsules of your other set. It will lead to two matched microphones again.”
  7. Nice setup Daniel. Interesting bike design there. Here’s my ride. I carry the camera already built on my back. That’s a sennheiser Ambeo and a Schoeps CMIT5U poking out. Lenses and accessories in the panniers. Tripod strapped to the rack. This is my second documentary I’ve shot using a bike as my main transport. First one was a single speed DMR transition with 24” wheels that I rode all throughout NYC. This is a Surly Travelers Check (Crosscheck with S&S couplers). My favorite part on the current bike setup is the Revelate Designs frame bag.
  8. Thank you both for taking the time to share some knowledge. Not just for my thread, but for all the posts over the years. It’s contributors like yourselves that make these types of forums a great place to learn. Thanks again, m-
  9. Hello JWSounders- I’m getting ready to take the plunge and get a stereo pair of CMC1’s. I’ve been debating the L vs the XLR versions. For me personally I like smaller and less weight which makes me lean towards the L for my own work. My concerns about the Lemo version may be unfounded but are about traveling and finding spare cables etc if I need in a pinch, fitting into other people’s work with ease, and DIY cable maintenance. Any thoughts from the JW crowd on the subject would be greatly appreciated. Thank you, m-
  10. Where I think the 32 bit float feature really shines is on single person shoots, when one must focus on the camera aspects of the shoot and cannot ride, or often even watch the levels. One of the main marketing aspects of the MixPre series has been attaching them to small DSLR and mirrorless cameras.
  11. I'd start here: https://cdn.sounddevices.com/download/guides/MixPreSeries-SonyA7SR.pdf If you went MixPre route I'd imagine you'd feed timecode through HDMI A73---->MixPre3/6, and audio from the MixPre3/6---->A73 via 3.5mm. The question is do you record audio 100% of the time or do you trigger record from the camera? That depends on your project. If it's more verite, I'd record every moment of audio I could (this is the main reason to get an external recorder vs a preamp and recording in camera). If its a sit down interview I might trigger record and I'd work a boom setup if at all possible. Don't settle for leaving your mic on the camera. Soderbergh, when making 'Full Frontal' ,talked about an audience having more patience for poor quality pictures than poor quality sound...or something like that. Learn to operate your camera as quiet as possible so you're not picking up too much of camera operation in your on camera mic set up. Test your IS lenses to see if your mic setup is picking them up. Dial in your kit and cabling so your not fiddling and fighting your kit. A lot of people on DVXUser love those tascam DR10 lav recorders. Yes, you can't monitor it, but when packing and traveling as complete solo production, there are tradeoffs, and if i can lose some weight and kit, therefore streamlining setup and effeciency, it goes a long way. On that note my ideal setup for this exact scenario is 6-8 Audio Ltd. A10's all recording at the transmitter and only 1 A10 receiver with that RX-MON Headphone amplifier on me so I can periodically monitor each recording while I focus on shooting. Give me a Schoeps mini cmit, Sound Devices Mix Pre 6v2 (if i use the 32 bit float 1 time its worth it), Canon 1DX3 (i know its not out yet, but if it has canon log and dpaf, otherwise I'll stick to my 1DC), 100mm macro, 16-35, and a Ronin S. Maybe throw in a Mavic Pro, a Nexto DI NPS-10 and you'd be a doc force to be reckoned with that could all fit into a carry on. Another tip, I always mount my mixpre on the right side of my camera cage (so the mix pre is orientated vertically), then you could use some standard velcro to attach the sony receiver to the bottom of the mix pre, though if you noted my tip before about dialing in your cabling and setup, I'd look into BEC Cases or some other mounting interface for a more rock solid solution than velcro. You do not want to be battling your kit when something important is happening. Last tip, when it comes to cages and mounting, Arri 3/8" with the registration pins is the way to go. Most companies use this pattern these days, Wooden Camera, SmallRig, etc. I abhor a simple 1/4-20 screws from noga arms holding an on camera light etc. as it will inevitably loosen. The one exception to that has been the mixpre, it has a single 1/4-20 but due to the rubber around it, it has never loosened. Thats it for now. Feel free to PM me with any questions you might have. Ugh, one last tip (this is why I’m a lurker and not a poster, too long winded, sheesh, but trying to give a little something back to a great community, thanks again Mr. Jeff Wexler) anyway, with your Sony UWP’s you can go directly into the A73 via a shoe adapter (I’ve read people struggling with levels, etc, I have no experience with this setup, but is something to ponder): https://pro.sony/en_GB/products/uwp-d-accessories/smad-p3 Here’s a few pics of a C500/MixPre/SRa setup (these pics were taken to get some custom cables made, which is why they’re a bit odd angles). All mounted to a cage with my SRa in a BEC case which is screwed onto an adapter that screws into the bottom of the MP6.
  12. I like the Shure VP83F because it has a built in recorder, I haven't compared audio quality to other DSLR type mics, but it works (also, I recently stuck it on an Alexa Mini and was able to boost the gain enough to give the mini a scratch feed): http://www.shure.com/americas/products/microphones/vp/vp83f
  13. I posted this on the Black Friday thread too but just wanted to lend my opinion and experience in this thread as well: I can't address the supply chain but have purchased a handful of betso items over the last 6 years (including a 2nd TCX-2 during this sale, thanks Daniel for the heads up on deals, greatly appreciated). I've always found Jan Zastera to be on point with communication and handled any inquiries I had in a prompt manner. I've found their products to be extremely well built and designed. When I asked about the repair process, it was said that for some repairs parts could be shipped to Gotham Sound (my preferred reseller) and they could handle repairs there and some would need to be handled by Betso. I can recommend Betso and Jan without hesitation.
  14. I can't address the supply chain but have purchased a handful of betso items over the last 6 years (including a 2nd TCX-2 during this sale, thanks Daniel for the heads up on deals, greatly appreciated). I've always found Jan Zastera to be on point with communication and handled any inquiries I had in a prompt manner. I've found their products to be extremely well built and designed. When I asked about the repair process, it was said that parts could be shipped to Gotham Sound (my preferred reseller) and they could handle repairs there and some would need to be shipped back to Betso. I can recommend Betso and Jan without hesitation.
  15. Pelican Air 1615 though not as sturdy, has worked for me for a couple years so far. That being said I do keep my 688 kit in a 1650 and yes, it's heavy. Though I have a tip, the much older 1650's that have the significantly larger horizontal carry handle are better as you can use two hands easily. And there's a generation or two of 1650's (could even be the current one) that don't sit flat when you set it down (if you were carrying it horizontally, like a suitcase). This is annoying to say the least. Deal breaker in my opinion. Look on Craigslist in Chicago. They'll pop up at some point.
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