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RKynaston

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About RKynaston

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    Member

Profile Information

  • Location
    UK
  • Interested in Sound for Picture
    Yes
  • About
    Mainly a DP but with a growing interest in audio
  1. Welcome to the RED club Sandy! Yes some guys, including me, would say that the RED is an amazing picture camera, but somebody forgot to add the sound system! One of the best things you can do is to get hold of an A box from Wooden Camera. It converts the EPICs 3.5mm jacks to XLR. Standard part of the kit in my opinion. Feed the sound out from your mixer to the A box as a guide track, and record externally as your planning. Ideally if you can get a recorder with a good time code system, then let the EPIC pickup the TC from the recorder, that way audio sync in post should be easier. One option, if its in your budget, may be something like a SoundDevices PIX240 - has dual XLR for mic/line in, TC generator and can record Apple ProRes if you need rushes - saves transcoding RedRaw afterwards - just a thought for you. I've know them used along with a recorder, and instead of.
  2. Christian, Simon, Stuart, Alex and Glenn: Thanks for your insight and advice on the equipment, that's what I was looking for. I'd looked at the SuperCMIT, as the sound for this work is very direction and sometimes distance, but as you say, the 416 might well be the better bet. I'll take a look. A friend who I'd spoken to yesterday, whose been a sound guy for a number of years, suggested the same name at Elstree, so that's definitely going to be a port of call before I take the next step. Cwsound: ENG with you might be a three man crew. Where I am in Manchester, if you've got a sound guy, your a very lucky BBC cameraman! Hell, sometimes these days your lucky if your a cameraman with a reporter and not just at a news story on your own! There are many examples in the UK of reporters being given a camera and mic and doing all three jobs, classed as a video journalist!
  3. @Studiomprd: Apology accepted. I'm aware this is an equipment forum, and don't want to take it off focus, but given the scenario you lay out, I'd like to think that the person concerned has come asking for help and I'd hope that I'd try and point him in the right direction, pointing out that the type of filming, end result, lighting etc all play apart in things, no doubt I'd add that I wouldnt expect to get feature film results without the cameraman with feature film experience, but I wouldn't be dismissive. It happens in all industries where the right way isn't done. I presume you cook food at home? Have you trained as a chef? ( that was a joke, not having a go!) just proving that it may not be best but its what happens. Anyway back to the equipment, there isn't a magic bullet in any world. But I've always been brought up with the basis that knowledge is gained over the years and passed on. That's what I'm looking for - knowledgable people to point me in the right direction. Money isn't no object, I've been saving carefully, and when I do spend it if like it to be after careful consideration and having gained as much insight as I can. If somebody came back and said don't go for the ABC123 mic because to get the best results you need a sound guy monitoring and adjusting, go for an XYZ987 instead. Sound isn't quiet as good, but will be better than the other for a one man band, then I'd be greatful and take that decision on board.
  4. Christian, Thanks for the pointer, i'll take a look. @studiomprd: I'm new to the forum, and am not an audio guy so i'll keep the majority of my opinions on your first comment to myself. But no, I don't believe using the same clubs and balls as Tiger Woods would make me a good golfer, neither do I think, assume or expect that using the best mic in the word would give me the best sound, and I resent the view that my question gave that impression. I acknowledge that being in the glitzy world of Hollywood is very different from my world in the UK. People may try and produce films (long or short) and believe they can be director, producer, cameraman, boom operator, focus puller, sound recordist, colourist all in one, whether they succeed or not I have no idea. But in my world, we don't work in an arena of multi-people crews and we're not filming feature films. But when my boss says that we are moving more and more towards an ENG run and gun style of shooting, because that is what the clients want - then sorry, but thats what the client gets. If they want multi-people crews, then they need to be upping the budget, but as most of these are for in-house training or promotional films etc.. where they are not going public and not being broadcast, such budgets do not exist. Do I think such filming should be a one man crew - no. But my opinion doesn't count, the clients (which in some cases are major UK well known brands) opinion does. All i'm looking to do is to deliver the best product I (as a video cameraman) can, and the nature of that means we need to manage the audio. Should it be to blockbuster quality, yes. Will it be? no, it needs to be as good as the setup, the individual (me) and the editor can provide. At the end of the day, I asked for some help and some views, making it quite clear i'd come from the video side, not the audio side of production, because having spent a fair while reading comments on this forum I acknowledged that there are a number of very knowledgable audio people who may be willing to offer help and advice on the questions. If you want to be sarcastic then kindly direct it elsewhere, as that's not what I asked the questions for. I do however, apologise for my typo. I did mean to say "but am I correct in thinking the sound recorder to which the mic is connected, records one channel for the base sound, and one channel for which ever preset has been chosen? i.e. 2 separate (not combined) channels". Thanks for pointing me towards Jay Rose's books, i'll take a look at those. And can I thank those who have provided a meaning full contribution to my answers so far - it is appreciated. I don't expect to become an expert, but would I far rather garner the views and opinions of those people using such equipment day to day, than the views of a salesman!
  5. Hi Chris, Thanks for that. Strangely it didn't show up in a search for Super CMIT 2u. Interesting results, as I think that potentially answers the distance question. Id be interested to know more about the 'introduction of artifacts' that showed up when using Preset 2? This may be a silly question, but am I correct in thinking the CMIT records one channel for the CMIT sound, and one channel for the preset? Cheers Richard
  6. Hi guys, I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries. The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds that I need to ensure are picked up both from a distance and close-up. I'm thinking of investing in a Schoeps SuperCMIT 2U or CMIT5u for the outside audio, feeding into a SoundDevices 788T-SSD recorder (with an XLR out to the camera for a base sync track). But want to ensure that I'm also capturing the surrounding audio as well, with the ability to mix (or leave out various channels) in post later. There is the need to take the immediate surround sound out at times, as I can occasionally be stood with other photographers and their camera shutters going off sounds more like a machine gun on the audio, so that obviously needs to be reduced as much as possible! For interviews, im thinking more of a Sennheiser MKE418, with something like a Sanken WMS-5 for the outdoor surround sound. My line of thinking is that outdoor would have a Schoeps and WMS-5 using seven channels on the 788T, while interviews would just have the MKE418. My question is do you guys think that is over the top, or the wrong set up? Also, for those who have used the SuperCMIT 2U/CMIT 5u I understand from a couple of colleagues that both the base setting and one preset at a time can be recorded simultaneously, so i presume that takes up two channels? I'm guessing the WMS-5 is the same but using 5 channels? Would something like the Schoeps Double M/S CMIT be a better idea than the WMS-5 AND SuperCMIT? Also can any of you guys suggest the best set up of windscreen for the shotgun mic that can minimise the noise of a gale on a hillside! I'd value your views? I haven't had chance to talk to any other sound guys that I know yet, so would value any opinions. I've no problem making the investment, but want to make sure I do it right, and with kit that is going to deliver long-term, potentially in a variety of weather conditions! Cheers Richard
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