Henchman

3 hours ago, Trey LaCroix said:

The Deitys sound remarkably good for the price point. If range and WiFi band saturation weren’t such an issue I’d feel fine using them alongside my Lectros.

Exactly. 

I think they're an incredible option for indie filmmakers. 

On 4/2/2020 at 5:28 AM, EricCC said:

 

 

In your short that sound at :23-25 seconds, is that from the wifi interference? on line "have you canvised all these houses?"  there was a few more. 

Nope, that was cloth noise.

BTW, I mix dialog for a living, and there's nothing wrong with the system whatsoever.

I have gotten absolutely terrible dialog to mix, that was recorded using top of the line equipment

On 3/11/2020 at 3:31 PM, Sosha said:

 I’m struggling slightly with every audio test of the deitys I’ve found. From a drama perspective. 

Why? 

I have no problem with them from a drama perspective. 

This is the Stephen King short I just finished. Using the Deity Connect system. 

As well as my Vlog I just started shooting in my garage. 

I think the Deity is an amazing product. 

Especially for low/no budget filmmakers.

I'll be shooting a feature once this virus blows over, using the Deity connects. 

Password for the short is "Festival" 

https://vimeo.com/376447791/721561e7be

https://vimeo.com/400510224

On 12/28/2019 at 4:26 PM, Patrick Tresch said:

 

I would be interested to see it. Thanks for posting.

One of these, but without the cage

32 minutes ago, IronFilm said:

Who's to say his budget is fixed in concrete? Nothing wrong with suggesting say a $1.5K solution 

 

Plus often videographers massively under spend on audio, and we should point out when they ought to spend MORE

 

 

It is helpful seeing his configuration, I've never seen an arrangement like that, does give some inspirations. And a person could always keep the same general configuration but swap out for cheaper hardware. 

 

He set his budget himself. 

$1k, for everything. 

What is so hard to understand about that? 

57 minutes ago, Patrick Tresch said:

Here is my Run and Gun rig with the Sony A 7 III and the MS-Schoeps CCM41_CCM8 and Sonosax M2D2

 

It's 2,9kg. I can soot the whole day with it as my two hands, elbows, eye, make contact with the camera. The EVF and it's peaking infos are really good (much better than many EVF out there) and you can pull focus easily with it.

 

Sound from the POV of the camera si critical fro me but you can't beat a good boom and some HF. Better have a sound guy with you.

The M2D2 gives you the opportunity to have good 48v preamp and use the great MIX feature with some limiter wich is great if you don't want to touch your faders during the take.

 

 

Did you take note if his $1k budget. 

The schoeps alone is over $2k and the M2D2 another $1400.

Not really helpful information. 

Also, buy as much used as you can. 

I bought a complete, nice film city shoulder rig with matte box (not one if those plastic neewer ones) and really nice follow focus for $66

6 minutes ago, Patrick Tresch said:

Here is my Run and Gun rig with the Sony A 7 III and the MS-Schoeps CCM41_CCM8 and Sonosax M2D2

 

It's 2,9kg. I can soot the whole day with it as my two hands, elbows, eye, make contact with the camera. The EVF and it's peaking infos are really good (much better than many EVF out there) and you can pull focus easily with it.

 

Sound from the POV of the camera si critical fro me but you can't beat a good boom and some HF. Better have a sound guy with you.

The M2D2 gives you the opportunity to have good 48v preamp and use the great MIX feature with some limiter wich is great if you don't want to touch your faders during the take.

 

 

Did you take note if his $1k budget. 

The schoeps alone is over $2k and the M2D2 another $1400.

Not really helpful information. 

I'd  look for a used Zoom F4, and a tentacle sync.

You can jam sync timecode from the Zoom f4, and record timecode on track one of your camera, and since its run. and gun, you'll probably have it in a bag around your neck , and you could record the mix track from the zoom on channel 2 of the camera.

If you only need one wireless lav, the saramonic uwmic9 actually works great, and because the single transmitter system comes with a dual receiver, you can always add a 2nd transmitter. I'd suggest replacing the lavs it comes with, with the deity v-lav, which sounds re ally good.

For a smaller boom, I'd again suggest a Deity D3. The regular one, not the pro. 

I actually get a bit of a kick out of the comments regarding noise floor and products like the Zoom f8 and f4. 

As I know, as a Re-recording mixer that deals with recorded dialog everyday, that the ambient noise these days on especially location shoots, and even "sets" makes the equipment noise floor irrelevant. 

Btw, the Deity lavs sound better than the Oscar Sound Tech at less than half the price. 

My Deity connect system arrived yesterday.  I'll be doing an indepth test this weekend. 

I did a quick test last night, that included me walking from my livingroom, down a hall, through a bedroom, and into my garage, with no dropouts.

That's 2 doors, and three walls from receiver to transmitter. Receiver in the bag with the F4.

I think this is an amazing setup so far for indie filmmakers, who will be boomin themselves g with the recorder around their neck.

7 hours ago, old school said:

Nice. I wish more directors would practice all the elements of film making before they direct. In theory you only get better every time out. They both sound pro which I’m sure your re recording skills helped make possible. I see Sharman mixed Daycare.  Did he use any Deity mics? He did a good job as usual. Also I’m sure you two shared your interest and experiences making short films. He and Steven Morrow did one called “Living with Lou” that I’m a big fan of. Do I recall you have a Joe Strummer or Clash project? Probably someone else but for some reason I think it was you. Doesn’t matter. I wish you the best on your next one.

CrewC

Yes, Robert mixed The Daycare. He used all his gear. And yes, my wife and I wrote a musical based on music by the Clash called "London Calling '. We have an option deal on the table right now. 

4 hours ago, old school said:

Sounds good. Looks and sounds boom able. What was your final mix comprised of? Nice short, though it could of been shorter by a touch IMO. I’d be cool to see and hear other shorts from your team.

CrewC

It ended up being all Lav, because I suck as a boom op. I had the boom too far away. 😁

I am doing these shorts to hone my skills in sound mixing, directing, cinematography and picture editing, in preparation for a feature I'm going to be making next year. 

This is the first short I directed last year. 

Well, I wanted to chime in regarding the Deity lav mics. 

Besides being a Re-recording mixer, I've gotten into actual filmmaking myself now. I'm in the process of directing a feature next year. To educate myself , I've been shooting short films. For this , I wanted a budget sound mixer package. I ended up with a Zoom F4, Deity D3, and 2 Deity V-Lav mics, and a MOVO Mic 80. I tried on Oscar tech, and was quite unimpressed. The V-Lav sounds better IMO. 

I'll probably replace the MOVO, it's ok. Not great, but certainly usable for low/no budget work. 

Here's the first short we shot last weekend using setup. 

https://youtu.be/PlpHJJb2XJ4

The Go is completely useless, , as it starts dropping out within a few feet the minute you turn around and lose line of sight.

P

On 5/15/2019 at 12:17 PM, Philip Perkins said:

 I find Reaper anything but useless, but we won't start a DAW fight here!   Recording on a laptop isn't great idea if avoidable in any case.   Reaper apparently does generate TC in accordance with a clock source fed to its interface.

This isn't about the DAW. It's about the fact that reaper does not timestamp the sound files with SMPTE timecode. 

On 5/15/2019 at 10:56 PM, Bouke said:

 

Strange that this did not come up:
https://www.videotoolshed.com/handcrafted-timecode-tools/ltc-midi-readerconverter/
(Working on an update now, latest version is a bit CPU hungry, should be fixed by tomorrow)
 

What is the problem of syncing to network time every 10 minutes? That should take care of the problems.

I will check it out. 

It did come up, but I missed the part about it generating timecode as well. 

On 5/15/2019 at 8:53 PM, Wandering Ear said:

 

Reaper writes the timestamps to the wave files if you have "Write BWF (bext) Chunk" selected in project settings.

I'll check it out.

Why this even is an option, instead of a standard feature is puzzling to me. 

Is there a way to wirelessy control the record function. Something small, with physical buttons. 

6 hours ago, Philip Perkins said:

.  I too have done innumerable low budg concert shoots with shooters who only dimly grasp the concept of frame rate, and eventually it was all sorted out.  I emphasize "eventually".  On a high-end commercial etc with a DIT on the set and creatives wanting to see synced dailies very soon after they are shot accurate TC is assumed, counted on.

Again, who said anything about a concert shoot, or high end commercial shoot?

11 hours ago, Philip Perkins said:

And this stays in sync with video cameras all day....how?   Computer clocks are notoriously inaccurate over long time periods.  Having shared TC on all devices is not the same as having them stay in frame-edge sync over a long period of time, unless the clocks in the various devices are very stable (not true of any laptop I've ever come across) or they share some kind of clock signal as well.   What might be "confounding" to the OP would be that the professionals that have been dealing with this issue for decades aren't stupid and have come up with solutions (actually more expensive than $1k) that work nearly flawlessly in real-world shooting situations.

I take it you missed the part where I said "budget filmmakers"

As far as video cameras staying in synch all day, I've never really seen a case where a camera was run all day. 

You do understand this is geared towards people using dslrs cameras liKe the blackmagic cinema camera,  right?

Also, we recorded our musical 2 years ago. I recorded wild into my 2010 macbook pro. I think in had to do 3 cuts in the timeline to resynch. In an hour and a half show.

I don't  see what the difference is between this, and buying Tentaclesync devices. 

Furthermore,, Reaper is useless as it doesn't timestamps teh wave files, making it useless to auto synch in resolve.

I did a ton of googling trying to find out how to set up multiple cameras and record multi mics to a separate recorder , that were all recording the same timecode that could be used to synch everything easily and automatically, that didn't require spending close to $1k on hardware.

Why I couldn't find a single post describing the following very simple, and cost effective solution, that I would think most budget filmmakers would have figured out long ago, is confounding to me

It's quite easy.

You will need the following:
A computer with multitrack software. (Free version of Protools)
A multichannel interface.
Long, balanced 1/4" cables. (make your own) 
And a copy of the Horae software that costs $75

https://sononum.net/horae

If I could find a software app that just generates LTC out of an audio output , there's a free solution, that's not as elegant as Horea.

The beauty of horea is that it allows you to set up multiple LTC analog ouputs, as well as internal MTC streams.

So, you plug your mics into the interface. 
Set your DAW to synch to midi time code
For protools do the following:

Launch Audio MIDI Setup under /Applications/Utilities.
Open the MIDI window.
Double-click on the IAC Driver icon.
Make sure Device is online is checked.
If there are no ports listed, click on the + button to add one.

In Pro Tools:
Go to Setup > Peripherals. In the Synchronization tab, set the MTC Reader Port to the IAC bus you created.
Select Options > Transport Online, or click on the Online button in the Transport window.

In Horea you can create multiple LTC sends to your various outputs on your audio interface.
So, for 2 cameras, you create 2. Plug the respective outputs into the respective inputs of each camera, 

Now you can start the generator running and let it run all day and simply record. On pro tools keep it on quick punch. And you can just punch in and out for every take.

Now, it's very easy to synch a days worth of recording in resolve at pretty much the click of a button.

52 minutes ago, mikewest said:

Ok

 

As they are funded ask what their sound budget is and negociate from there

 

I always indicate the value of equipment to be supplied and that I will do a job

that will save them money in post production

 

Good luck

 

mike

I don't have to ask them.

It's me.

I'm the one making the short, so I need to know what it's going to cost to hire someone.

Yes, it's funded.

None of that "I'll give you a credit, and points on the tail end" nonsense.

This will be a very disciplined, planned out shoot, with proper shot-lists, that I'll be going over with the DP before the day of filming.

No "Figure it out as we go along".

I'm doing a 2 day short film SHOOT on a weekend in August.

I'm putting together the budget.

What is the average day rate.

3 actors.  Need to be laved and boomed.

17 hours ago, daniel said:

For sure and the mixture really makes the others stand out (in way that probably doesn't matter for the intended audience). Brits probably sound conspicuous to you as well, when performing the various North American accents. It was just funny because i'm listening to the guy in the flat cap and genuinely thinking where in the UK is he from (we do have a wide range of accents in UK - and some hybrid 1s on top Eg. when some1 from the Midlands moves to East London and has some kids with some1 from Scotland). Anyway I realised flat cap man could be from Vancover (BC), Aukland (NZ) or anywhere between (and good luck to him).

He's an American.

I tried to get as many local british actors as I could.

7 hours ago, daniel said:

Crazy accents!

Half the cast are Brits

In the meantime, here's a link to some of the scenes form the performance we recorded using the GTD Audio wireless system using the $30 JK J-043 Lavs. Wish i had set the transmitters to -10