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Paul Katzman

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Everything posted by Paul Katzman

  1. On top of that, it’s poorly constructed sentence structure and grammar and full of typos and straight up misinformation. This truly is useless for beginners. Some of the items on here are wireless systems (which include mics) and some are just mics! That you didn’t include the G3/G4 line (probably the most commercially successful option among amateurs, beginners and single operators) let alone any of the newer options like Sennheiser XS digital or the Deity stuff shows nobody actually did any real research at all. Shit, searching Adorama or B&H would have given you more and better information, and both of those places I believe offer affiliate links to achieve the same result as linking to Amazon. This “article” is truly useless and IMO will do more harm than good, leaving prospective users with no holistic understanding of what a lav mic or wireless system is, what the parts are, and what makes a good product from a bad one. It’s a mindless collation of manufacturer specs with no actual analysis or opinion of its own. Like Chris, sorry for the harsh words, but...
  2. To that end, I only use RX for these purposes to avoid aliasing and filter artifacts. It also does a great job of preserving metadata on export.
  3. Sure, all depends what they can pull of in firmware. Andrew seems to think it’s possible, but we shall see.
  4. Yes omg please do. An 18dB/8ve cut with pad would be amazingly useful. Hopefully it’s at a lower corner frequency too (60-80Hz)
  5. For clarification’s sake (and because I just re watched the video this morning) I believe Andrew explains that at the moment the packs are only 1 to 1 transmission, but 1 to many may be coming later in a firmware update.
  6. I would get in touch with your local DPA dealer, but it looks like you could achieve what you’re asking about. You would need a dedicated preamp for film/tv use, keep in mind. I would also maybe buy the pieces individually for maximum flexibility. The 4018V has a vocal performance oriented boost, which is probably not desirable as a fixed boost for film production, especially when preamps like the MMP-B can achieve this boost anyway. The 4018VL looks like what you want, but I am not clear if that SKU is just packaging the normal 4018 capsule with the handheld body and windscreen, or if in fact that capsule has a different response than the standard 4018 capsule. I say this because you can buy SKUs that are just pre packaged combinations of capsule and preamp, which is exactly what the 4018ES is - a 4018 capsule with an ES preamp.
  7. I’ve been meaning to contact the mothership about this and have been forgetting, but the memory card door is an abomination. Hard to get it back in, and about the second or third time I opened it it just broke off. On top of that, the power connector rubber plug isn’t “captive” and I immediately lost it. I’ve been having an issue with feeding it AES from my 633 that I haven’t quite got to the bottom of, need more time to research it. In short, I can somehow clip the digital inputs. I don’t know how that’s even possible. It may be an error with the way AES works on the 633, it may be my unit needs need a clean reset or a trip home, or it could be some other strange issue. Unsure yet, been too busy to dig deep. Other than that, it’s wonderful. Great sound quality, incredibly useful as a bag backup recorder. Aside from the above issues, the only thing I’m truly missing is auto roll when it sees a TC signal. Would be great to not just have gigantic clips for a whole shoot day. Oh and the battery life is astounding! A vast improvement over the AAA-powered PDR (and I understand why...)
  8. Is this a six pack or a multi sma?
  9. I’ve always carried on a 1510 (1515 in the Air series) but I know that’s the largest “allowed” size. Not sure how much bigger you could push it and get away with. Probably depends on the size of the plane and thusly the size of the overhead storage bins.
  10. If it’s a camera with AES inputs (Sony F5/F55, Arri Amira, etc) you can feed it 4 channels. Sticking 2 SRc units on there would be unwieldy, but would work with their AES backplates. I’ve fed 4 channels into an F5 several times, hard lined via a 633 with no issues. And SDI can carry up to 8 audio channels, for what it’s worth.
  11. Another vote for the DPA 4071 here, especially when it has to be entirely inside the knot. Cos11s also work well, and are a little more forgiving in terms of hearing clothing rub IME than most of the DPA options.
  12. Hey Bouke, Sorry, I didn’t mean to sound as though I was speaking ill of your product - it certainly is very flexible and powerful. I only mean to say the Tentacle software is much more “automatic” for lack of a better term. This is a double edged sword of course, as one may have the need for more sophisticated controls and options in certain workflows, so there is of course a use for every tool.
  13. There are a few third party tools they can purchase which are cheaper (but not as nice to use or simple, generally) than Tentacle Sync Studio - google AuxTC. As others have said, Resolve and Avid can perform this function, but be aware that Premiere and FCP cannot, at least not without additional plugins. On small jobs where I know they’ll be dumping on set or I’m well involved with the folks running the shoot, or where I’m doing post, I’ll bring my laptop to the shoot and spit them out an XML syncmap myself, it’s usually pretty quick and painless.
  14. From what I’ve gathered from Facebook, yes. That said, for AES to work you need a receiver that natively supports AES out - so no Lectro, but yes Sennheiser, Audio Ltd, Zax, etc. But any receiver gets picked up on the Dante outs, and either can be used simultaneously with Analog output.
  15. Also skeptical of the zoom capsules. I think it’s also interesting that the specs list a 3-axis accelerometer and gyroscope, I guess it tracks that information in metadata? Maybe you’ll be able to compensate for movement in post?
  16. I mean, the DPAs get pretty pricey in the 700-something dollar range...
  17. 4080 sounds great, I think has a bit too much low end roll off (they’re really trying to counteract its proximity effect, though it still sounds great as all DPA lavs do) but is far far from visually discreet. Quite large, especially on a tie clip. Can’t speak to the countryman, it may be smaller.
  18. Glad they’re being made again! Love mine.
  19. For what it's worth, I've owned several of the original model and have been using 2 of the new ones for the last month or so. I've had no problems totally replacing the old ones with the new ones in my workflow, and I absolutely love the new cable locks. One tip that may help folks here that are newer to these boxes is that you always need to switch the frame rate on the tentacle to the proper setting before attempting to jam. I don't believe they will auto-jam and pick the right frame rate by themselves. This is one of the reasons I have enjoyed using the newer ones - being able to do this wirelessly. I have had no problems with mine doing this. Jamming from a 633, have used to feed C300, C500, Amira, Alexa, Mini, various Reds, FS7, F5, probably some Ursa models, etc.
  20. Allen we don't know each other but I know your voice very well from those MH videos way back when. Very helpful as I was first getting my head around that stuff. It's a small world, geez.. Welcome (back)!
  21. Nobody read the FCC materials yet? There's some cool info buried in there... Not the least of which is the new device looks to be 25/50/100mW..
  22. I guess we'll have to check back on 9/21
  23. The issue is not so much that you'll need the right connectors as you need the right voltage. USB is 5VDC, where the outputs of your BDS are (likely) 11-16VDC depending on the charge of your batteries.
  24. FYI with the DPA gooseneck accessories, the 4080s can be rigged up to be nearly like a 4098 (you have to mount the goooseneck separate from the microdot into the transmitter, however.) I too wish for a flatter response model, but alas. The cutoff does help greatly when using them as intended as cardioid lavs attached to talent.
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