jonathan chiles

Its a really nice sounding mic and very directional as they claim.. just has way too fat a low end. Handling noise is not an issue with the lyre suspension but it seems the pressure variations in stong winds are causing a low hum even with full Rycote zeppelin and windjammer. Looking at the plots the CS3e starts to roll off quite steeply at around 180Hz with the low cut engaged.. the CS1e could REALLY use the low cut way more than the CS3e imo. Still love my CS3e and nothing will replace it.. but hoping CS1e will be a good all round compact run n gun mic which fits in Rycote WS1.

I picked up a CS1e recently and have used it on a few varying jobs. I was using it today in a Rycote WS1 with the windjammer on in gusts up to around 25 - 30 miles an hour and found when listening back later that there was quite a lot of extra LF rumble. I like the mics reach and general sonic character but seems like it needs to have some of the bass rolled off quite aggressively.

I often jam Alexas from a TS-C. apart from the slate display being a second ahead, I have had no sync issues. Last weeks shoot was at 23.976. One thing we do however after jammingf is intentionally set the Alexa back to TC Source: INT not sure if it makes a difference but as the internal TC generator is now jammed from your source it should use the internal clock as reference after jamming.. makes sense i think

I use a G2 receiver to feed the Arri Alexa, and find that the +12 output will drive the line input no problems. My Tx usually is at -30.

As far as I know some capsules have quite a static charge and will pull in fine particles have heard this of the Schoeps mics. Fine dust cant be a good thing to have inside your mic capsule assembly..hmmm

Velcro the SB3 on the back of teh touch screen monitor and leave it plugged in. The camera should be provided with the 4 pin Lemo to 3 x BNC cable. Figure out which input is TC in and label it.. step away from the camera and let the camera dept and dit sweat

Agreed, iPowers are great..! I also hope it will soon be possible to pack more mAh into those tiny plastic cases.. but wont be holding my breath. If there are any tech breakthroughs please let us know

Aah thanks for reminding me of the possibility that Alexa puts out TOD and not Rec Run.. I am going to push for TOD all round and that bit of info might help my case if it is still true for the latest firmware.

I have another Alexa job coming up this week and this was just forwarded to me from the post company Whitehouse Post. It seems some post houses are requesting record run.. AND they still want the audio timecode to match the camera.. I now must be cabled to camera or work out a wireless TC system unless I can convince them to use TOD 1. Footage should be acquired at 23.98 frames per second. 2. Capture aspect ratio should be 16x9. If using other aspect ratio, please specify if image should be !t width, height or anamorphic. 3. Master footage should be recorded as ProRes444 Quicktimes. 4. Recorded Color Space should be Arri Log C. 4. Continuous ascending SMPTE timecode should be applied to the masters starting at one hour. Every frame MUST have a completely unique timecode identi!er. AUDIO 1. If possible, audio should be recorded to the camera. 2. Backups of any audio should be delivered along with the footage on DAT or Disk. 3. Shots with audio recorded should be marked in Script Notes. 4. If audio cannot be recorded to camera a smart slate MUST be used. 5. Recorded Audio timecode should match the timecode being recorded to the cameras QTs.

I really enjoy recording music when I get the chance. I love being able to capture an aural record of an event as it happened as truly as possible. So all limiters and base cuts taken out and let the stereo pair do their thing. I have done some chamber music, buddhist monks from Ladakh, opera and recorded a nice thunder storm a few weeks ago.. next thing I want to do is get my hydrophone out and record some wave action at the beach... Also I usually take a small recorder with me if I travel somewhere interesting. I recorded a bunch of cool buzz tracks in China 2 years back on the streets, subway, restaurants, Bird Market in HK etc.. not sure what I will do with this stuff but I"ll think of something

Hey there Hodge, and welcome. Very interested in the LiFePO4 technology. How many cells do your packs consist of? Is it possible to perform a "balanced" charge on them using this type of charger intended for radio control LiPo and LiFE packs? http://www.lkp-electronic.com/?l=120&i=381

I have always been horrified at what sennheiser charges for their accessories.. and refuse to buy any of them. The mics are great though and worth the money obviously.

Congrats all, some really fantastic work! Wish I could have been there.

Oh also we shot almost the whole commercial in HDR mode where the Epic exposes at 2 different levels, which I guess is unique to that camera.

In this case no, it was his chosen method

I have had the Micro Track I since 2007, and also surpisingly it is still going and saved my butt recently when the 788 crapped out and had to go for a holiday in Wisconsin. The MTII does not totally fill me with confidence but it does make decent recordings when fed through the balanced TRS jacks. Mine has locked up several times but alaways come back on after a forced power cycle. I also made a cable with a voltage regulator in it so the pathetic internal battery life is not a concern.. looking to replace soon with Tascam DR100mkII seems like the best value and a solid piece of gear.

"The DIT is not our boss, and we don't work for him. But if he won't set the camera in a manner to better sync sound, then tell the producer you need to use a TC slate and sync that way." I'll drink to that!!

good question! maybe the agency?? maybe there were no Alexas available

great! thanks for drawing our attention Matt:)

I agree that TC didnt really matter much on this particular shoot. This particular DIT who is not a newbie and is apparently one of the best guys in town just has a bee in his bonnet about rec run tc. I understand the autoload possibilities if the Alexa output rec run but I am not particularly interested in working this way. It is so simple and problem free to work with TOD with the Alexa and that is what I have done on all other shoots leading up til now. If I ran into this DIT again on a sync sound shoot the conversation would involve the producer and I'd be telling them they can either pay the extra kit rental for the denecke slate or camera gets jammed to my TC.. Was just wondering if somehow rec run made somebodies job easier down the line, and I trust Marc when he says it does not!

I was on a commercial shoot last week with an Alexa and the DIT on the job insisted that he strongly preferred record run TC on the Alexa saying it made it easier for him to check if any footage was missing after copying the cards. I let this go as there was no dialogue to record only atmos and fx and the camera ended up rolling at 100fps most of the time. Obviously producers should be consulted and post as well, but my inclination especially with the Alexa is to insist that audio and camera TC are jammed. I understand the DIT's reasoning but it seems that all other DIT's I have ever worked with dont lose footage and the camera runs TOD TC.. Anyone else come across this kind of thing?

While on the Sanken subject, the CS-1 has now been updated to the CS-1e for those that werent aware. Improved noise specs and max SPL of 130dB as well and weighs only 80grams. http://www.plus24.net/sanken/products/brochures/Sanken_CS-1e.pdf

Nice ideas with the colette cables RVD! I have 2 but have not used them since I bought the Sanken CUBs. What would be great is a Right Angle active cable option from Schoeps.. but I think I will try using these again although they are more work to rig than a CUB. I always like having options!

Some people like the MKH50 better than the Schoeps, its a matter of taste, I love them both. I dont know the AT mic but I know you cant go wrong with an MKH50. Still hoping to hear reports on how the 8060 works on interiors, I am looking at this and the Sanken CS1e as a lightweight shoot anywhere documentary mic.

for very reflective interiors like bathrooms I would go hyper cardioid or straight cardioid and stay away from anything with an interference tube.