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filmfreak

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Everything posted by filmfreak

  1. Hi Dan Not trying to to defend any sides here but couldn't resist in posting. I boomed with a Sennheiser MKH 70 today for the first time and just could not believe my ears. The degree of separation and also the richness , roundness and neutral tone of the voices I recorder were simply phenomenal !! I also believe that it is uncomparable as far as reach and isolation is regarded. I owe a Sanken Cs3e and a Schoeps CCM 41 . They are both excellent mics but I am definitely getting an MKH 70 as it will be able to pull the lines out in a very harsh environment or acoustic interiors were it will be better to have just the lines and no room element - was shooting on a stage today. There's really no silver bullet regarding mics imho but my hat is off to Sennheiser regarding this excellent mic. Technically speaking MKH's frequency response curve is much smoother and transparent than CS3e's. My 2 cents Aris
  2. Robert and Jimmy Thanks about your feedback. Maybe you are right and I am obsessed with dream gear + over excited with possible sonic scenarios of exotic combos. I really appreciate your feedback and opinions. Nothing taken personally. I also find hard to spear the ccm8 money as another necessity is usually ahead of the ccm8 mic. Time will tell. Wanted to share my thoughts. Aris
  3. Hi Vin Yeap ! Pretty costy. If it can get you around on different kind of setups then maybe its worth the investment. D-50 is a good idea but it records X/Y instead of a figure of 8 . You would still get a wide stereo image combined with a more directional M mic of your choice at a fraction of the setup I mentioned. The other downside of a D50 is that you can't use it on a boom pole. The PCM-M10 is out next month, which is even cheaper than the D50 --> http://broadcastengineering.com/audio/sony-unveils-pmc-m10-handheld-digital-recorder/index.html Thanks for sharing your thoughts. Aris
  4. Hi Robert and Vin Vin please let me say that not only the Audio Ltd tx can provide 48 Ph. There is a very interesting series from Sony http://pro.sony.com/bbsc/ssr/cat-audio/cat-wirelessmics/product-DWTB01%2F4250/ that also provides 48 ph + you can remotely switch the Phantom power from the receiver as well as some other extras. There is also an interesting Stereo tx from Sony again : http://pro.sony.com/bbsc/ssr/cat-audio/cat-wirelessmics/product-WRR862B30%2F32/ I also had a conversation today and a friend of mine told e that it would be easy to make a locking ring on the top of the pole, that will be able to host 2 plug on tx on the right and left respectively. To be honest I haven't tried the Sony series but I know other people who have tried them and are very satisfied by their performance but this it very subjective anyway. At this price point, we are talking about preferences really as the units of such a price tag are over qualified . Robert, I haven't come across a set that I would need a remote M/S - I haven't got an M/S rig yet anyways- but I like to plan ahead and be prepared for demanding shooting conditions if they will arise, before hand. The reason of thinking I would ever need remote M/S is if I would be on a set with very demanding conditions on unique outdoor locations. I would like to be able to capture my atmo straight away while shooting and be able to be on my cart while my boom op would be on set for the scene preps. Another instance I could think of the remote rig, would be if for any case the director would need the crew to be very compact,low profile and be able to move among crowds without the crowd taking notice. A good example, is a film that Michael Winterbottom shot ( an English director ) " A mighty heart " starring Angelina Jolie and while shooting in Karachi Pakistan, the crew had to be as low key as possible due to taking unneeded attention and due to having a start actress with them and security issues. The production sound mixer on the specific shoot had to be alone and in such an occasion, it would be very handy to be able to record M/S as you would be able to have a very unique atmo while shooting or by pre rolling earlier than the slate, that you won't be able to have time to record otherwise. Chances are I might not need wireless M/S but I would like to be prepared and have a flexible setup to provide such a rig if I am asked for such. What motivated me in starting the topic, is that I never came up with such a topic on any forum and was wondering how other mixers came around with an M/S rig. Aris
  5. Hi Vin Thanks for writing back. 2 TX on the top of the pole is a way . Stereo TX is another way. The only way I can think of having 2 tx is by implementing the latest Ambient mounting plate : http://www.ambient.de/produkte/tonangeln/zubehoer_booms/zubehoer_booms_e.html Haven't red anything about it on a forum or discussion.. Will take some time to put the rig together but will definitely let everyone know how I did it. Kindest Regards Aris
  6. Probably a careless post ... Phantom powering was troubling me over the last month while shooting, without concentrating on the most obvious 2 frequencies I will need in order to transmit the M and S channels. Excuses for a pretty silly question. Even though, how have other mixers came around the issue of a remote M/S boom ? The most straightforward answer, is that you just go with wires but in the case of needing to go wireless how did you do it ? Thanks ! Aris
  7. Greetings I purchased a Cinela M/S mount recently, along with a Schoeps CCM41. I am getting a Schoeps CCM8 over the next month, to be able to set up an M/S rig. I was wondering whether I would face a problem Phantom powering the cage. Cage outputs a 5 M XLR using common ground and 4 pins for the respective hot and cold of the M and S mic. I made a mini starquad Mogami stereo cable with 5 XLR, Male and Female Neutriks which I split at the end just before my mixer with a 5 XLR Y cable to 2, 3 XLR M . When the rig is hard plugged, the mixer feeds the 2 3 XLR cables the respective P48 voltage and everything runs smoothly as I 've tried the CCM41 both on the M and on the S position of the cage. I haven't got to a wireless boom setup but aiming to do soon. The obvious solution is to make a 5 XLR to 3 XLR barrel from the Cinela output and then connect the plug on transmitter at the end of the 3 XLR barrel. I am wondering whether I will face P48 issues though, since I will have to feed both the M and S mics from a single source, which is the plug on TX . Anyone came across with this situation ? I 've never tried it so maybe I am worrying too much but on the other hand I would like to take some advice before moving towards this step. Thanks ! Aris
  8. I was watching a movie today and as usual I was unconsciously thinking of boom and lav placement in most of the frames. I was watching a scene were the leading actress was wearing a summer skirt, exposing her shoulders and back and was also wearing a lot of jewelery as this was part of her dressing up style. in particular she was wearing a noisy and big necklace that was sitting exactly in the middle of the natural V of her clothing, where let's say it would be a nice place to position an omni lav. Another issue with necklaces is that due to their big size they can add a masking effect to the lav's polar pattern. I once had to deal with a similar situation and I decided that since the necklace had to be there , to raise it by sticking hypo allergic tape at the back of the actresse's neck and therefore raising the necklace a bit so it wouldn't hit the lav. I 've also red on this forum once about someone making specific necklaces with lavs already in the necklace but that's not my point. Let's say that you need to place a lav on an actress who moves and talks on her left and right as well as in front. What's the best way to approach the issue ? My first thoughts are to stabilize the necklace either from the neck or if impossible by using a medical patch and then double sided tape at the back of the necklace. Any other thoughts or alternatives ? And just to condense all my lav thoughts in a single post I also wanted to ask other mixers of which are the criteria of deciding to do a 2 lavs placement. I can understand that the most obvious reason is to cover both sides of the actor when he/she turns their head and have a smooth and unchanged recording on both sides but my main concern is gain and how you can determine which gain level is right regarding the other mic. How can you determine which is the gain level on Mic 1 that doesn't affect the polar pattern and gain on Mic 2 and therefore cause phase cancellations ? And a last bit of lav paranoia ---> I red once on a thread in ramps that an "optimum" lav placement is a lav on the left vertical axis of the actor another one on the right and a third one on the head so you can cover all possibilities this way. Estimating around 2-4 minutes per lav placement , having to spend more than 10 minutes to wire up each actor seems like a lot of time to ask from production solely on lav placement and also wiring up an actor in this way sounds like getting ready for cyber reality. Has anyone applied this theory or is it just me thinking that this theory is being taken from a sci fi novel instead of being able to be applied on a film set ? Aris
  9. Thanks to everyone There's some great insight and advice on the posts. I got a clear picture of what I must do and keep in mind . I was kind of freaking out regarding rx/tx signal under the earth but line of sight is the way I will go. 2 bags for keeping everything dry is a very good piece of advice. Zaxcom recorder seems like the best possible solution. Great feedback. Aris
  10. Hi to everyone I was recently asked to work on a documentary shooting, which will be shot in underground caves. I was first asked if I am claustrophobic and then informed that I will be wearing a water proof uniform that will cover me up to my neck. Camera will be housed in a special underwater casing and I will also have to build up an "underwater" housing for my equipment too. I first thought to give it a go with Rode's NTG3 as it is the most humid protected mic I know . I was informed that production wants to shoot even if we are covered up to our neck with water and the guy who speaks is also covered up to his neck with water and there might be no possibility to boom overhead due to height restrictions. I though to use watertight wireless and then just a very rugged device with CF only to avoid humidity issues and mechanical arm movement on a hard disc. I had in mind a SD 702 ( we will use sticks ) and then a pair of either lectros or audios in a watertight box. I was also thinking to plug direct to the recorder to avoid issues with extreme moisture between mixer and recorder cables. I still haven't figured out how I will be able to house the recorder in a watertight box and also be able to mix. Not sure how it will all work and never red a thread about a similar type of shooting . Does anyone have any experience from a similar type of shooting ? Dos and dont's ? Will rf travel normally in very humid under the earth water caves ? Thanx Aris P.S. I will have a pole and a boom mic in a Peli case with me , in case location allows me to use it .
  11. Could hear up to 20K from my event 2020 bas monitors and an imac. Glad those earplugs I purchased some years ago seem like they were worth every cent. Special ones that are from clear see through hard silicon and are made specifically for your ear. They fill in your ear with a plasteline like material and then shape a hard silicon based on your ear's shape. Kind of like taking a thumb print. You can purchase them from hearing aid shops. Age is 32. Reading this thread reminded me I should book an ear cleaning appointment this week . Aris
  12. Does someone have a pic handy of a dipole + shark/yagi combo to post ? Aris
  13. Greetings Mike Looked up your site under the equipment section : http://www.mikewestgatesound.co.nz/equipment.html and think I can spot the antenna combo right there but it is a small sized picture to be sure. Could you please post a clearer picture with the Yagi / Lectro SNA 600 Antenna combo if this picture or a similar one are within reach from your pictures database ? Would be nice to have a closer and clearer view of this setup. Thanks
  14. Hi Phil Thank you very much for spending so much time in analysing everything so thoroughly. No worries about getting too far or over analyzing. Wasn't tiring or confusing at all ! Every single bit of your posts is very much informative, descriptive and straight forward. I am also happy that the topic seemed interesting to many other engineers and they felt like chiming in. Seems like I 'll be heading towards the Lectro sna 600 dipole combined with a log periodic shark. Looks like a really rugged and very important! compact solution. Space is limited in my car so a compact as well as a rugged solution is a winner in my case. I am finishing work on a series I am on in 3 days so I will be able to investigate and spend the time needed for the "antenna mast" project starting at the end of the week. First step is to thoroughly examine the Lectro RF seminar and I will take things from there. As said by all posts here there is no silver bullet and no solution that will help for all setups but after reading the posts here I am concluding that I should take the plunge with the sna dipole + shark combo and then adjust according to needs and experience over the years. Once more thanks for the feedback and happy that it turned out to be an interesting topic for everyone.
  15. Hi Phil That's very descriptive and the way you also wrote about your early days set up cleared many questions in my head. Thank you for putting so much time in. I can see that you changed from a horizontal setup to a totally vertical one. Any particular reasons for doing this move over the years ? Why did you substitute the 5 element Yagi antenna with a log periodic shark ? Does it have to do with signal reception, design sturdiness, very directional ( Yagi ) versus directional ( Shark ) or a bit of all 3 factors ? Rf cables inspection is a very useful hint and I will definitely bear this in mind. I can see your Ambient quicklock suggestion and that is a very helpful one. I will rather "snap" off than twist whatever is on top of the pole. Handy ! Could you please post a picture of the strain relief loops ? As you underline it is a very important issue in order to protect your cables. Are you amplifying the signal and are you also using a router before you will feed the 2 antennas on your wireless ? I noticed that the Lectrosonics sna600 folding dipole antenna is common in your's and Scott's setup. I will investigate the product further. Let me see if I got that right : Place the Shark on top of the pole and then clamp a Lectro sna 600 at least a foot below it, both on the same vertical axis which should just cross the dipole in half of its length. The sna 600 should be placed vertical and the antenna setup would be something like an m/s setup ( if you would just look at the polar patterns ) where the sna 600 would be the equivalent of a figure of 8 ? Thanks and hope I am not tiring you with loads of questions. I want to break down all components of the setup as radio signal and communications are an integral part of today's demands. I am definitely checking the rf seminar on locationsound.com soon .
  16. Thanks Robert and Scott I guess it is a mix and match scenario based on experience Robert, just wanted to take precautions and examine various parameters. Scott,thank you very much for the detailed urls and the really detailed info on your exact antenna mast setup. Got loads of homework now !! Regards
  17. Greetings Group I am about to build my premier cart setup and even though I have covered most of the aspects after thorough investigation and feedback there are still some issues that need to be solved. The cart I am getting is the rast order vk cart --> http://www.rastorder.com.au/product_vkmain.htm because the design and sturdiness really suit my needs and I like very much the modular design concept plus Rob is a very helpful and enthusiastic individual who is up for modifying each cart to suit specific needs. Ii is still not 100% clear to me which antenna setup I should use and also how to setup the mast. The VK cart has a dedicated antenna pole holder so it is clearly suggested to set up the antenna mast on the given position. I 've noticed that most of the cart setup pictures have their antenna mast at the back of the cart and on a vertical axis that is usually at the the center of the cart's width. I guess that it is not that important as to where exactly the mast will be positioned and it comes down to practical issues considering the cart's ergonomics and functionality. I 've decided to use the given position on the cart, in order to have the back side of the cart free to place boom poles . I am thinking of a possible 3rd boom at the back of the cart but would like to ask the group if anyone knows possible benefits of positioning the mast at the back side of the cart instead of the right hand side. Some highlights regarding the mast installation : i) How many metres should the pole be extended ? I know that the higher the receivers are the less interference they face and also they can cover the transmitters if they are on a higher position than other equipment on the set but is there a critical height that the pole should be extended to ? ii) Which materials should be favored / avoided in order to build up the mast's pole from scratch ? Which antenna poles are there available on the market ? iii) Regarding antenna types, I know that the best possible combo for a conference hall p.e. is a mixture of shark fins and omnis - sharks to direct the signal and omnis to cover a wide area. I noticed that most carts are using sharks in parallel but there are also some carts that use sharks in combination with an omni like the Sennheiser A5000CP. A sound engineer advised me to use Yagis. they come in reasonable prices and depending on how many parts they are made of their receivability is increased. Which type is more commonly used and does it have to do with how wide the area we want to cover is and also how much is the receiving signal amplified or does it come down to certain flexibility and downfalls of sharks versus omnis versus yagis ?? iv) Should the receivers be always in pairs so the horizontal as well as the vertical frequency waves will be received in the best way possible ? Should the antennas be placed parallel or should they be placed - on a pair - vertical versus horizontal for optimum results ? v) Is it possible for someone to break down the signal flow from the antennas to the amplifying and distributing stage of the chain all the way down to the inputs of the mixer ? vi) Is there a critical distance of the antennas between them that is related to the angle of the coverage ? In other words in the case that I will make a horizontal bar and mount 2 shark fins is there a distance to angle ratio of the distance between the 2 fins that I should take in account ? I will not purchase a vr field which looks like a really neat and compact solution, so this option is not on my plans. Thanks in advance and I hope that these questions can benefit other engineers who are also building up their premier cart setup. Happy New Year and Warm Wishes for an innovating and prosperous 2009 to everyone ! Regards Aris
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