filmfreak

I've miced chefs on a feature and a food show, using COS-11s ( Black & White ) wrapped in Joe's sticky staff, poking either behind the button or gently sideways in plain sight with excellent results. On the feature, both director and DOP could not find out where the mic was rigged. Food related shoots are most of the times shot in kitchen areas which are usually enclosed ( no wind issues ).

A smaller sized Cyclone is planned for early 2015 release.

The "bombs" were manufactured by VDB in Paris Better come in touch with them or Audio Ltd directly if you are looking around

Nice video Timo !!

Thank you so much to everyone What a wealth of knowledge !! Great job & appreciate your time a lot. I 'll sink my teeth into Robert's, Ales's and Jim's great feedback ovee the next few hours ( in the middle of missions right now )

Greetings to all Thinking about taking the plunge with black eneloops but I 've heard that they are slightly bigger than the white ones, resulting in not fitting into some battery caddies like the Denecke TC slates. is anyone using Black Eneloops with Lectrosonics SMB & SMDB TXs ? Are the batteries fitting allright ? I 've been also thinking to get Maha chargers for the batts. Any real world feedback or alternative suggestions would be much appreciated. Best

I would also suggest on my turn to stick Rupert Neve pres on a recorder of choice. The Portico 5012 or another of the Portico series will do a fine job. http://rupertneve.com/products/portico-5012/ All this is trully great but not a single person has answered Dirk's original question. Anyone used the 633 - additional insert > or even the 644 - back to back with a 7 series recorder ?

Hat !

Thanks for Sharing Pascal

The 30 seconds limitation was expanded to 45 seconds ( on 44.1 kHz ) - around 42 sec on 48 kHz - and 10 seconds on 192 kHz with an update Izotope released about a year ago. Version 2.10.656 offered the expanded capture time + further improvements. About to jump on the RX3 boat soon and happy to hear that 192 kHz capturing is poped up to 30 seconds. That's 3 times more than what was available on the latest RX2 firmware update.

Can't wait for "Gravity" Children of Men is on my top 10 films of all times. as a film its technical achievements, surround mix, script and actors. Was really looking forward for Cuaron's film after Children Of Men. Gravity justifies watching the film on an IMAX theater.

I am about to get an iphone over the next couple of weeks and buy both apps. Guess my only option is to just get the "wobbly" iOS7 version ??

http://vimeopro.com/ipstv/ipstv-at-ibc-2013/video/74399800

Thanks for sharing Jeff

Like !

Wow !! Looking forward to work with them. Thanks for chiming in

Anyone had the chance to work with one of these units yet ? I know they are pretty new but I thought of asking anyway. The classic ones are one of the quietest fans I 've worked with. Can't imagine how quiet will the new ones be ...

Nice Work Fabian

What a marvelous documentary ! Couldn't stop watching Thanks for sharing Marc

Hey Marc I don't believe that anyone is questioning Claudio's talent and expertise. He is one of the best DOPs out there and I was absolutely stunned by his work on the Curious Case Of Benjamin Button. He is one of the most skilled craftsmen in the industry and has showcased his talent both on film and digital for years now. There was no intention to bash his skills but I felt that it would be interesting to relay the VFX artist's POV as we seldom read any VFX artist's perspective on this forum. While Hans Rijpkema's perspective does not reflect mine, I can only sympathize for R & H going bust and his feedback is probably biased by the fact that the company went bust recently. That being said I believe that not even mentioning the work of the VFX studio/artists is the least unfair and it doesn't do justice to not at least publicly recognize their Huge contribution to this movie. To be clear I am not standing by anyone's side here but "Life of Pi" was in its majority CGI ( even the whole sea, clouds - you name it were CGI ) and the CGI was so well and so meticulously delivered that it felt natural and convincing on a cinema screen and on 3D which is twice the amount of work needed for a more typical 2D film. By using my common sense and the way sound mixers have been left out of the equation numerous times, I believe that the VFX team's contribution was unintentionally not mentioned by either Claudio Miranda or Ang Lee as it was just skipped among the ocean of other things that they had in their minds. Nevertheless, Life of Pi's magic and uniqueness is undoubtedly because of the stunning CGI and I believe that like a good sound mix which effortlessly blends in with the movie's story telling and action, Life of Pi's CGI looked so natural and was so well crafted that people just took the visual awesomeness for granted. DOPs surely shape the lighting aesthetics of a film whether that is done in post with VFX artists or on set but I believe that by awarding a DOP an Oscar, that means - or at least meant until very recently - that his skills, decision making and craft are taking place on location and not digital lighting techniques in a virtual environment. I believe that specifically for "The Life of Pi" there should be an acknowledgement from the Academy for the VFX and that's strictly technically speaking but on the other hand the Oscars are never just about technical achievements, the Oscars are given out to the films that generate a certain buzz draw the Academy's attention and seem to fit the year's hype on what the Academy is looking to nominate. Taking it slightly further, I still believe that merging the Sound Oscar of the Production Sound Mixer and the Rerecording Mixer doesn't do justice to the hard work, innovation and experience that a Production Sound Mixer has to deploy on a set and this year's Les Miserables Oscar is a perfect example of that, as the Oscar and every other single award was due to the innovative work of Simon Hayes and all the credit of the Sound Oscar goes to the Production Sound Mixer for this one. All in all, I don't believe that anyone ever questioned Claudio Miranda's skills despite the VFX's artist acrimonious comment I can get in his shoes but that doesn't mean that Claudio Miranda is not one of the best DOPs on the planet. Yes, he properly lit the exterior "India" scenes as well as the interior ship scenes featuring Gerard Depardieu - and I particularly liked the style and way he covered all the swimming pool shots - But the film would not be nowhere without the tiger and all the other stunning VFXs ( meercats, the island, storms. skies and the list goes on ). BTW I asked Hans whether the tiger at the goat killing in India was real and it was all 100 % CGI. Last but not least, I found Roger Deakins's skills on the latest James Bond film much more suitable for an Oscar but that's just my humble opinion. The beauty of this forum is to be exposed on diverse info and exchange ideas. Just my 2c Aris

Hi Marc I recently attended a seminar where one of the Rhythm & Hue main 3d artists was talking exclusively about the visuals on the Life of Pi. The tiger was almost entirely CGI except some very few shots on the boat featuring a real tiger, where frankly I was not able to tell the difference even when he showed the real shots and the CGI ones side by side. The studio is specializing on creating CGI animal characters for - if I remember right about 20 years now - and one of the biggest challenges of creating the tiger was its fur ) making it look real, transparent and all the complicated implication of light reflection on the fur as well as making all the skin ripples and body reactions look real and accurate. The 3d artist was wondering on how the DOP won a Bafta and an Oscar since every little detail from the skies to the waves to pretty much the majority of the film ( except the exterior scenes in India ) where CGI. And that was the latest update from Tiger news central ...

Greetings Karine While everyone's input is right regarding the use of recorders and mics as opposed to what the 2 recordists involved with the shoot advised, all the above quotes are valid when there is some budget allocated for post production sound and mix. In the specific film though, shoots are split up in weekends, the recordist originally involved in the shoot jumped on another boat most probably because he got a payed gig - or at least a better payed one - and the original recorder used is an Edirol which is not primarily made for film shoots, or at least its not a standard for sound mixers in films. All the above, indicate that the specific film is below low budget and falls under the NO budget category. Just thinking out loud here but I am pretty sure that there is probably not going to be a sound mix - there might well be on the other hand ! - and the whole post production sound process is likely to take place in an editing - FCP ?? - suite where the tracks will be treated with volume changes, some panning and a bit of reverb and compression in a best case scenario, as opposed to a proper mix and sound design procedure. If the majority of the above statements is true then the production tracks should be treated in a more "Live" manner and should be brought as close as possible to the final mix "sound" of the film so that with a little bit of treatment in an editing suite they can have a uniform sound imprint which can help in sound continuity and telling the audio part of the story in a convincing manner. To round it up if there is no sound mix, design and production involved, then it is true that by not using primarily the same mics and secondary the same recorder - therefore preamps - there will be issues with the audio tracks of the film. Karine, would you mind letting us know what's the length of the film and which are production's plans regarding the final mix of the film ? Best

Hey Vin Don't know how relevant it is but you might want to have a look here too : http://professionalwireless.com/salesall-products

Thanks !!

Got the details Miles ! Best