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Jose Frias

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About Jose Frias

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    New York City
  • Interested in Sound for Picture
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  1. Jose Frias

    Who do you use for personal Equipment insurance?

    I'm also a happy Athos customer. I have yet to make a claim (hopefully never will *knocks on wood*), but I do know a mixer who made a claim for stolen gear and got taken cared of, no problems.
  2. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    I'm talking more about sound effects like cars passing by from one side to another, where you would typically employ a stereo technique, or a broadband sound source like a waterfall where you'd also record the ambience. Anything more isolated than that I would personally use a different tool. I don't consider Ambisonics magic, just a tool, and knowing how to use it is the key. That said, we don't have to agree.
  3. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    Most of my use of Ambisonics is for VR, correct, but we're also working on and developing new applications for the technology, and pushing it's boundaries. That said you're not wrong. I wouldn't use an encoded format like Ambisonics for playback in theater. Main issue IMO is that sound playback is a whole business on its own with too many theater formats from companies like Dolby, Auro, DTS, THX, etc that would make it damn near impossible to convert into an open format like Ambisonics. My suggestion was merely its use for recording sound effects and ambiences for post, and then decoding and printing to a discreet output format like 5.1, 7.1 or even 7.1.4 (as now the SoundField by Rode supports) that can then be added into the final mix. This would present far more flexibility for the capture and manipulation of sound effects and ambiences IMO. I believe some post sound houses have started to adopt this, though definitely not mainstream yet.
  4. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    It could be a typo in the ad itself? Or maybe a software bug if it really is a photo of the live product? Can't speak on their behalf, but it's definitely not a standard channel order for Ambisonics.
  5. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    Maybe a typo? AmbiX ACN channel order is WYZX. I personally doubt it. A directional mic in the hands of an experienced operator will yield better results and save more time and money in post. An ambisonic mic as a boom mic will require processing (both in production for the production mix and in post for the final mix), and just adds more complexity to a workflow that doesn't really need it. For sound effects and ambiences recordings for post, however, I think Ambisonics is definitely the way to go. The flexibility it affords for all the different discrete channel outputs is unparalleled, and in my experience the trade-offs are not as apparent.
  6. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    There are two problems with creating mono virtual microphones with directional patterns from a soundfield: 1- The first one is that First Order Ambisonics has a relatively low spatial resolution, so localisation of sound sources is not as accurate as it is with Higher Order Ambisonics, like 2OA or 3OA for example. So while beamforming may help create a highly directional pattern, you are still using a low spatial representation to extrapolate the sound source from. Maybe once we start working with HOA this will become much better. 2- The second, which was alluded to already, is that you're using four capsules with equivalent self noise of 15 dBA each (in the case of the Rode NTSF-1), to create a virtual microphone that would theoretically have a lower self noise. In the case of an MKH50, the self noise is 12dBA, so you can see the math doesn't really work, your virtual microphone would have a higher self noise than the real thing. These are not as apparent with stereo or surround, but definitely with mono from my experience. So while yes, you can create a virtual microphone pattern from the soundfield, you do have trade offs to consider.
  7. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    Correct, but the plug-in will also take as input B-Format files, so you could use an ambisonic microphone from a different brand, convert to B-Format using their respective A-to-B-format conversion plug-in (or if you have custom calibration files you can use VVEncode), and then feed that B-Format file into the Rode plug-in for further processing and manipulation.
  8. Jose Frias

    Deity Connect.

    In one of the videos I saw Andrew mentioned that they are not user replaceable. Instead he mentioned that they have Quick charge with a USB-C connector that fully charges the unit in one hour.
  9. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    Woah, that was a convoluted quote there haha. I'm sure you're right. In part I kind of really like what they've done as far as functional design goes (all-in-one solution, etc). I really just wish they would've put effort into making a quality product for professional use, because there is such a gap in the market, instead of making a product that everyone can afford. But I will hold my final judgement until I try it out. As far as renting these, not sure we get much, if any, out of it. I also fear what it can do to the rental market for Ambisonics. I typically rent my SPS200 + MixPre-6 package for $250-300/day (depends if I include time code or not). For $50-100 more any producer can just buy the H3-VR mic.
  10. Jose Frias

    What to do with 600-698 MHz wireless systems?

    So as others have mentioned your gear will continue to remain usable until T-Mobile decides to turn on transmission towers near you, or until July 2020 when the wireless frequency band that was sold in the incentive auction (614-698 MHz to be specifict) becomes illegal to use for wireless mics. You will still be able to use your Sony wireless covering channels 30-36, as they're below 608 MHz and unaffected by the incentive auction. Your wireless covering channels 38-41 will however be more difficult to use, but not altogether useless. As it was alluded, there will be a guard band from 614-616 Hz which unlicensed operators can use, and the duplex gap from 653-657 MHz which only licensed operators can use, both at a max 20mW EIRP. As long as you can find some frequencies to operate within those bands, your gear will continue to remain legally operational. It's not so simple. I can't speak on behalf of Sony, but I do know for a fact that other manufacturers are indeed re-blocking wireless for their customers, including Lectrosonics, Sennheiser and Zaxcom. The other problem has to do with the FCC. To quote Gotham Sound: "The FCC deadline on selling legacy wireless equipment is the end of September (two weeks). Though you will be able to continue to use older equipment (as long as it complies with legal frequencies and power output), manufacturers will not be able to sell any components that have not been re-certified by the FCC, including the components that are necessary for moving your wireless to a different frequency." So that also comes into consideration. Vendors like Gotham Sound are making it an even better deal by offering things like store credit for a limited time: https://www.gothamsound.com/news/get-2x-your-money-when-you-trade-your-600-mhz-wireless?utm_source=Gotham+Gazette&utm_campaign=d6ca77e48a-New+Products+from+Denecke%2C+Lectro%2C+and+MozeGe&utm_medium=email&utm_term=0_8cbb4c598a-d6ca77e48a-110987297 Anyway, I understand the frustration, but you're not completely out of luck here. There are options.
  11. Jose Frias

    DPA 3mm lav mic

    To add to what Pete is saying, both DPA and Zaxcom have improved their products drastically where this has become a non-issue IMO. DPA's core technology (which is available in this newly released mic) has done great work at reducing the THD and expanding dynamic range overall, and Zaxcom's newest transmitters (ZMT, etc) have improved pre-amp circuitry. I would invite you to try them and hear for yourself. Try a 4060/1 Core (or this new 6060/1) with the same transmitter. I think you will appreciate the difference.
  12. Jose Frias

    New Zoom H3-VR Recorder mic combo..

    So I'm a bit conflicted here. On the one hand I do have to commend Zoom for being so forward thinking in creating such a product. I do think that it is boasting with great features that are unique, and definitely note-worthy: - All-in-one solution with microphone, recorder, built-in A-to-B format conversion, and binaural monitoring through headphone jack. - Built-in motion sensor to automatically calibrate the converter to the appropriate mic position (upright, upside down, endfire, etc). - Accurate clock (0.5ppm). - Ability to record in A-format, B-format, Binaural, Stereo, 5.1 surround, etc. - Bluetooth app for remote control of the recorder. - Slate tone / sound marker for video sync (assuming camera has audio recording enabled, which is not the case in high frame rate situations). - Super low weight (5 ounces!). On the other hand, I have some issues with the unit out the gate: - At that price point (~USD$350), I can only assume that the build quality is not what I would like it to be. Sacrifices have to be made somewhere to get it to be that cheap. - Zoom claims that the four mic capsules are matched, but they give no specs on the mics beyond the "Maximum sound pressure input: 120 dB SPL / Mic gain: +18 – +48 dB"; I would like to see frequency response charts, mic sensitivity ratings, self-noise levels, THD, etc. - I also struggle to see how you can QA 4x matched mics at that price point. - In the same vain, I would like to see pre-amp specs. - Higher sampling rates are cool and all, but unless you show me that the microphone and pre-amps are capable of reproducing frequencies beyond 20kHz, which is doubtful at the price range, it's more of a marketing bit than anything else. - Is the built-in A-to-B format converter a generic converter (a la SoundField SurroundZone or Ambeo plug-in)? or is it tailored for each H3-VR mic with its own calibration files? I assume the former. - No time code or wordclock I/O to sync this with external recorder that would be used for multi-tracking of isolated sound/point sources, which a lot of VR/360 production requires As far as I can see (and obviously without having played around with it), Zoom had an opportunity to create something stellar for professional VR/360 production, but instead chose to create something that everyone can afford. I guess I can't fault them on the decision, they will likely sell these things fast and a lot. I will likely get one just to play around with it and test it out, but I doubt it replace my SoundField SP200 and MixPre-6 rig.
  13. Jose Frias

    DPA 3mm lav mic

    Because it is a Core mic, it is actually rated IP58 waterproof. Go and dunk away happily knowing that it will be just fine afterwards.
  14. Jose Frias

    Sound Backpack Rig

    It's been pretty cool temperature-wise these days. Nothing felt too warm. Not sure what it would be like during hot summer days, that said, I've put my gear through some extreme temperatures, including the hot deserts in Africa, and it's never failed, though the QRX will get super hot to the touch. Nice going. Rig looks awesome! I did consider the wireless boom approach, but ultimately did not go that route since the boom only came out for OTFs, and it was just simpler for me to plug in the cable and go, then to things like scan another new frequency for every new location, turn on another transmitter, manage another set of batteries, etc. My ultimate goal was to make this as light as possible. I could've gone with my Nomad and Touch using my wireless monitoring with the Kangoroo PC, but it would've added a few extra pounds that I didn't want to carry at the end of the day. I didn't remember that the F8 Bluetooth app allowed you to control gain levels; good to remember. Most of my gain structure was set at the beginning of the day and we were good for the rest of the day. I really only wanted to be able to fade out mics when their user walks out of the shot for example, that way I don't have their mics open when they are clearly no longer part of the shot.
  15. Jose Frias

    Sound Backpack Rig

    Testing out this sound backpack build. I'm working on a very fast paced, run-and-gun project with up to 3 wires at any time, and they wanted to be as inconspicuous as possible. I put this rig together very quickly using my Orca backpack with a Sound Devices MixPre-6, a QRX100QIFB and a RX200 for 3 wireless channels, a TCS USO feeding timecode to both the MixPre-6 and the QRX100QIFB to send timecode out to the transmitters and timecode and audio to the ERX on camera. Custom molded in-ears come out of the back pack for critical monitoring in noisy environments, as well as a boom cable for the occasional booming. Transport controls and visual level monitoring via Wingman app on my phone. It's been pretty awesome. The backpack is super light and easy to carry around for shooting all over the city and on subways. Only thing I wish I had was an automixer to help keep the mix's noise floor down, especially since I don't have physical fader control, as well as maybe actual fader level control via the app so that I can fade out mics when I don't need them. I could also figure out a way to rig the antennas on the outside of the backpack, though I have been easily getting 100-150 feet all over NYC with the whip antennas inside the backpack (using ZMT3s with XR modulation), which has been more than enough for this particular project. All in all it has been a success.