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Rakesh Malik

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  • Location
    Lynnwood, WA
  • About
    I am a fine art photographer turned film maker in the Seattle area.
  • Interested in Sound for Picture
    Yes

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  1. The company's track record since launching their first cinema camera would lead one to expect that it won't be fully production ready at release time. Even if it were, I still prefer dual system audio anyway, it's easier on the sound team and on the camera team, and syncing in post with the noisy scratch track has worked pretty well for us... but we also use a slate and it's pretty rare for us to forget to slate at least with a voice marker and a clap, so we aren't relying entirely on auto-syncing. So the crappy audio on the BMD cameras hasn't been an issue for us, since we just avoid using it.
  2. Apparently context isn't enough. I was describing the sound recording technique, and concluded it with "I'll let the sound guy decide." Anyway, yes the Sweetwater folks have been in my experience quite honest, and though they occasionally recommend stuff that I didn't plan on, it's stuff that's in the same price range. (e.g. boom mics). I may not be a sound specialist, but I do like knowing how to get good sound, since we're not always able to get dedicated sound people to work with us. I do prefer it when we have them though, because it makes my life a lot easier since it means I don't need to worry about the sound side of things... as long as we don't have 7 planes flying overhead every six minutes, as it sometimes feels like happens as soon as the director calls "action."
  3. The Ursa feels like the car that Homer Simpson designed to me. The marketing page on the BMD site reads like it was written by a 4-year old who'd eaten too much sugar (Grant Petty?). The low sensitivity isn't a problem, it's just a tradeoff for the global shutter. DPs who are having trouble with it are ones who are attempting to use one camera for everything and don't have the skills to deal with limitations like lower sensitivity to light. It's usually the ones who think that cinematography is all about the camera rather than the skill of the person designing the shots and lighting. In theory it's possible for BMD to get more dynamic range out of the sensor they're using (I think), but I wouldn't expect BMD to pull that off, since it's far more likely that they're dedicating their effort to designing more cameras and ignoring the existing ones, in spite of glaring flaws like not having meters. We very rarely use single system audio on our productions, but we've also had good success syncing properly recorded audio with the scratch track with either Pluraleyes or directly in Premiere CC.
  4. Obviously, since I pointed out that I'm the DP, I'll let the sound guy decide on how to record sound.
  5. The advice here is pretty much exactly what I got when I asked the folks at Sweetwater about the h6. I was thinking of moving up from an h4n, they basically said, "don't bother, just wait until you can afford a professional recorder." I did... waited until I could afford a 633, which I'm now eagerly looking forward to putting to work on its first production next weekend, when we're doing an Altman-style dialog recording with 4 wireless mics. Plus a boom mic, probably. I'll let the sound guy decide (I'm the DP )
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