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    Videographer and sound recordist.
  • Interested in Sound for Picture

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  1. I've been working with a K-Tek Articulated BP for about a year now. Great pole to use when I'm working alone (which is most times). And I can always operate the boom while siting down! Bernie Rao Midnight Shepherd Productions Wellington, New Zealand http://bernierao.com
  2. A week later... I'm starting to like the Zaxcom a bit more now. I still think is over complicating things a lot. The sound reports are not to bad. I wish the Zaxcom could be more like the sound devices 702/744 where I can organize my takes by folders like a computer instead of having to rely on an excel type of document to go organizing files later. It would be nice to write longer notes as well. I still need to read the manual a bit more I guess. Quality wise the recordings are coming out quite good.
  3. Just a quick follow up. I've been using a Shoeprs cmc5 41, a sennheiser mkh40 and an mkh60 in extremely hot and humid weather in Macao and Hong Kong and they work flawlessly. The only real problem is city noise. It seems to be everywhere, all the time. Unfortunately I decided to go with a Zaxcom Fusion for this job (I normally use Sound Devices) and I absolutely hate this thing. The limiters don't seem to work. The Effects Package is just a name there that doesn't do anything but worst of all is the file naming. I had to spending an afternoon trying to figure out out how to retrieve metadata - take names, scenes, comments, etc - and how to convert them into wave files. I also have to output a scratch track to a couple of Scarlets and I can't find a way to attenuate the signal. I wish Zaxcom could give some sort of output level control. I can see this is an efficient piece of gear but honestly I wouldn't buy this machine. It's to expensive to be this complicated to operate. I understand that it's good not to lose a whole take because you ran out of batteries but I would rather lose a take then having to deal with this everyday.
  4. A few years ago I was starting out and wanted to shoot a feature film so I bought a Zoom H4n and a rode NTG2, a rode blimp and a rode boom. It was all I could afford. The H4n seemed a good deal for the price and I actually shot 2 feature films with that simple setup. here's a link to the last of them: (zoom h4n + rode NTG2) But I've never been happy with the sound I got. Sounds muffled. I have a Sound Devices 702t now and the difference to the zoom is really like night and day. I wish I could have shot my feature with the SD and a good decent shotgun like a 416. It would have a been a worthy investment. But like you said we all have to start somewhere! I would not buy the h4n again. I'd rather have a 302 going to some sort of cheap recorder that can accept line inputs. The zoom is very noisy and even with the 302 to me sounds very rough. Good luck!
  5. I've decided to invest on the mkh 50 for this gig because I'll use it in the future in my own productions. Noise in Macau will be a problem so it might be a good idea to get a more directional mic like the 416 on ebay --- *thanks John*. I got a bit suspicious about used 416's though after reading here about the fake chinese 416's... This AKG ULS looks like a sweet deal as well. If I was in the US I think I would go for it.
  6. Thanks a lot guys! Unfortunately the Schoeps option is out of the way now... It was sold one hour ago -- just when I had finally made up my mind about buying it. ...The pain.... ... I think you're right and it's wise to have a back up plan anyway so I prefer to go with something that in theory will work every time, everywhere - I think that's probably the mkh 50. I may get an used akg ck93 as a backup for the 50. The only shotgun I have right now is the Rode NTG 2 and I actually shot 2 feature films with it. Interiors/exteriors/inside cars/foley/sfx.... But It really sounds a bit boring. I got an SD 702t and the sound got a bit better but still not good enough. Regarding getting a 416.... I worked as a boom op in TV soap operas and we had 416's. I would get one today If I hadn't been traumatized by the screaming voice of the sound mixer dude through my headphones "YOU'RE OFF AXIS! GET THE MIC THERE! I CAN'T HEAR S***T! He was a cool dude but a bit to impatient with his crappy boom operators. So I guess I'll just make my life easier and get a more forgiving shotgun for exteriors like the mkh 60 or the 8060. Thanks again!
  7. Thanks for that! Good tip. Yeah the guys from Musicstore are just getting a bit greedy or maybe just clueless http://www.musicstore.de/pt_PT/PTE/Sennheiser-MKH-50-Soloist-Condenser-Mic-/art-REC0000294-000 price: 1.907,00 -- unbelievable.
  8. Hi everyone. I was wondering how reliable a Schoeps CMC6 with the MK41 capsule would be in a place like Hong Kong? I'm sure some of you have been there working and know the climate but for those who haven't... it's pretty humid and there is a lot of moisture everywhere, all the time. I'll be capturing sound for an independent feature film to be shot in Macao (across the river from Hong Kong) and I need to get a super/hyper for lots of interior dialogue scenes. Renting is not really practical because we'll be shooting for a month. And I rather just invest in a good microphone for future productions. I don't have any experience with this microphone and I've been reading here that it can have problems with moisture. But I'd like to know just how bad the moisture has to be to really affect the microphone. I'm only asking because I have someone who has a used schoeps cmc6 mk41 for sale with a cut 1 filter here in Portugal and I'm tempted to take the plunge but I don't want to plunge into a sea of problems. I would get an mkh50 but suddenly the prices on the 50 went up to 1900 euros here and the 8050 is sold out everywhere. Thanks in advance everyone.
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