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James Louis

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  1. I agree. It is wide, but you would need less of it if you were "opening up" your lavs in a mix (as the off-axis will retain the upper frequencies and the relationship of those frequencies). The remaining room where I was working became present pretty quick as I pulled away, believe it or not maybe 1.25 meters from source to accommodate the key, which is already outside my expectations for this mic. But in other applications, this also means easy-going strafing and pans that are more likely to keep the room tone from morphing. More cardioid is also going to mean less early reflections from the ceiling or whatever you are placing in your null angles, even if you're listening to wider information in the front of the capsule. And comparing the mic pattern diagrams supports my listening impressions. But no, I wouldn't call this remarkable for "reach" if you mean that you want a close-mic'd sound from a more distant range, as you will begin to hear the liveliness of your recording environment.
  2. I like to contribute to the many good subjects we have on hand here already, so I will tack on my impressions of an interior job I completed today with the 4018c. It was a trunk show and media blitz for a global fashion brand. The designer scheduled one-on-one's with journalists over different time zones as well as a little remote runway show. The assistants laid out the collection on a sofa off camera which he could then fetch and point out any detailing and construction material. The global marketing manager sitting next to him offering specifics or simply laughing at the current joke. To me, it's off-axis perspective that really highlights the technology in this design. I think it has everything on the 641. But additionally the 4018c maintains a very linear spectral distribution around the lobe of the mic pattern, resulting in a very well mixed relationship between your primary source and the activity around it. In my example, you heard the designer talk freely, and you heard a complementary level on the fabric and you heard a natural and open sound on the fabric which not only matches the dialog and doesn't need to be eq'd, but also sold the quality (and durability) of the materials (a bottle-recycled denim, flannel-lined coat pockets, recycled alpaca etc) when you have a clear parenthetical in a script (father continues to read the paper as the kids shuffle in for breakfast) (Alicia opens window of classroom to address the construction crew) Clearly, in most big works these are blocked such that the sound assets can then be layered. But you'll find with this mic that the surrounding action and the dialog make lots of sense in relation to one another...
  3. If I understand you correctly, you could use other lav manufacturers with your current setup. A better mic recording directly could preserve more fidelity. Alternatively, you can use a dynamic handheld mic with the Track E as well, for man on street style interviews with mic and marque...
  4. In my case last weekend, we used the new gain settings on the Amira. I had a camera op who checked that things were where I left them after any battery switches. We also did fine with the mic inputs out of my AT825, and the director found even more use for that footage. That level of buy-in and cooperation, not to mention focusing and remembering to do so, is an exception. I will attest to the set up resulting in a very functional mix recording. For a news package or for going on-air the channels I work for would run with it.
  5. You had an older Amira. If you have an older Amira it will have mic or +8. A newer audio board will have +24 of headroom as an additional option, which would be a blessing but for the fact that we’ve had sound operators on here reporting that their signal came back 16db over what they calibrated, which would correspond with the settings moving back to +8, plus the consumer signal in which they calibrated… in other words, with the new audio board, I would still go with the established practices on this camera unless someone else other than you or I chimes in and confirms any improvements in the latest firmware… I can also let you know if my team got burned this weekend…
  6. Thanks @Johnny Karlsson That said, you picked the 8+ option, which is what I’m inclined to do. However, your answer does not resolve whether the newer audio board with the +24 option input level will hold its settings. Sounds like folks have gotten burned on here with the signal bumped up on the mix when the camera powers back on. And thankfully they are going double system. J
  7. Short of sending 2-Channel AES-EBU, the conclusion I'm arriving at is that the original +8 input signal on the AMIRA settings menu is still the way to go. My working assumption is that with a power-down on the camera, this is the default setting, and with the current firmware at the time of this thread, the setting will be inadvertently reset. Select 8+, then use the attenuated, consumer-level -10db, line output on your recorder. Has anyone else confirmed whether this problem has been resolved with an update to the +24 setting? Do you think a physical pad connector would do a better job than your mixer? I could pack them as well...
  8. @ABBlochthe mini expects a line level signal; glad you brought that up
  9. Now I see the confusion on the size: somewhere down the line I misreferenced a MiniCMIT with a CMC1U. All's well that ends well, because there was no special order necessary; the XS was safely on the shelves at Gotham. It worked wonders last gig on some particularly competitive, territorial sets. Gotham has a special order short hair "S" which was never picked up, if that suits anyone here. I liked Constantin's uncovering the accommodations on the XS, and I thought I'd wait for the nylon chassis that Nelly at Cinela modeled for us. Do you guys have a 3rd-order, low-cut filter along your input chain?
  10. true that. and to chime in about what's "nifty" with the OSIX that I have, @Constantin, no, as you raised, it doesn't answer anything about wind. The hardware is clever in how they originally addressed the minimal area to which they could find purchase on the mic connector. It introduces the notched wing nut, no real bells and whistles there, aside from the under-appreciated fact that it's a confidence for when I'm choosing my axis, knowing it won't slip into some other uncooperative angle. I'm happiest with the build quality, the lightness and minimal profile, and the decoupling of the cable from transfers of mechanical handling. As far as engineering, it is befitting the 4018c. That said, I wonder if they would have sold it to me if my sales person had considered the significance of the COSI? And what does Cinela recommend at this point? Is this a legacy item? Seeing as it has remained in its tupperware, it's only been a month, and these items are made of non-destructible plastics, would Gotham consider this in a return? Or would I be wise to put it on the Used market?
  11. You know, I could have just taken Lauren's word for it at Gotham, @Johnny Karlsson. She said the same exact thing, and that they simply take the content from the manufacturer that it represents diameter. You know, by now when they take my order, not only will it have to be realized at their production house in France, but they are also on holiday for what I gather will be a month. They might not even process the order until they return. Maybe the new site will come with new announcements or at least update us on where things stand. That said, I might as well ask whether Gotham can sell me the XS (model number labeled "L") with the 19mm connector rather than have the dealer sell me that as an add-on. It's not like they would have to pilfer it off another kit. Furthermore, I could propose that I pay for the package that includes anything in the pipewerks involving the fabric chassis for indoor work. It's not like I'll be getting my cosi immediately, so perhaps I could leapfrog the current technologies and anticipate that as a next move. I head into Gotham next week, and they are offering me a loaner cosi for my multi-day work while I put in this order. That was a nice development. At the rate in which I'm getting work, it'll be nice for now, and then I can afford to get lost for a bit. (I'd like to do some adventure cycling before the leaves change, and get up to Vermont.)
  12. I'm diving in today and getting one, @Constantin You mention an XS model; do you mean the Short, 19mm, COSI-S-19 (X3-S)? Aw shucks-- now I see that there is a distinction with an XS model on the Trewaudio product page which is not explicitly stated on the Gotham page, and the cinela.fr site is still down. (Gotham is literally calling the COSI Small the "Cosi for the 4018c") Ah, they have the "Mini CMIT Cosi Windscreen kit" as well (without designating the XS. In fact, I suspect they have the model # incorrect, as they denote an "L" and the accompanying picture actually looks longer than the small). I gather that some dealers haven't even stocked these, so I'll consider myself lucky that I can run up towards Silvercup Studios. Noted on your comment about the additional 19mm connector. To answer your question, so far I haven't done a thing about wind for this mic specifically, and I can see how that's going to become an old answer real fast. It's been on indoor interviews since I purchased it last month, but this week I followed B-cam outside to the curb, and yes, as you anticipated I was struggling with a storm-front slowly moving in. Next week I have a multi-day shoot which I cannot fudge, so this week was a fairly forgiving and nonetheless definitive lesson.
  13. I entirely agree, @Valentine The waist band is too low for the water bottle, and the shoulder buckle is too high. Who wants to plop this down on the subway and have the one thing that clonks on the trodden floor be their drinking bottle?
  14. I'm grateful for your affirmation on the 4018c, @Constantin And your vote of confidence @Johnny Karlsson At first I thought I wanted the 4018B, and then I sensed that the B-preamp is compensating in ways that in actuality I would be happy to take responsibility for on the C-Preamp: evaluating the application, handling and placing the mic. The results from this mic and, yes, it's size--what it can access--are certainly worth my managing these scenarios. I actually found this OSIX mount really nifty. Now I will want a pause to consider where that leaves things.
  15. My apologies for not doing more to answer this for myself; the cinela website is still down, and I'm not sure if anyone has spoken to this question directly: I have the soft OSIX mount for the 4018c. Is the Cosi designed to interchange with these components? Would the Cosi be recommended for the same niche as the rycote softball? The function of the softball as I understand it is to grab the errant line when a boom movement has to be swift, in order to manage a resulting "whoosh." Clearly the job of two booms would better serve this circumstance, however a walk on, or a staging that requires a camera pan or tilt might require an abrupt repositioning of the boom. The softball affords more movement in a hypercartioid by making allowances for the low-frequency susceptibility of this capsule type. Is that how you understand it? Then comes the cosi. It's designed with the fur integrated, which leads me to think it's suited for unavoidable wind. But is it suited for this particular application whereby I could swing it in place quickly in an indoor scene that requires more blocking/choreography? Or would I be better served not looking for a patch but rather getting the "B" preamp for the 4018?
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