Jump to content

chrismedr

Members
  • Content Count

    640
  • Joined

  • Last visited

  • Days Won

    2

About chrismedr

  • Rank
    Hero Member

Profile Information

  • Location
    Germany
  • Interested in Sound for Picture
    Not Applicable
  • About
    documentaries

Recent Profile Visitors

3,790 profile views
  1. well, if you have a full iron backup recorder in the van then a MixPre-3 is probably a bit overkill, but personally I wouldn't feel comfortable using a H1 (audio fidelity, reliability, 3.5mm input, lack of TC, etc). the SPDR certainly looks perfect for this (featuring AES too), but it's also quite a bit of money for smaller productions. I forgot to add that a good quality camera hop would probably be my preferred way of having a backup recording since it also can help with other issues (camera playback, TC synch problems). These are probably less of an issue on bigger productions, but there video village might be a good backup opportunity. PS: for small, and if mono is enough, the Tascam DR-10X also comes to mind.
  2. a MixPre-3/6 with a Tentacle comes to mind, since it could also be used as an emergency backup stand alone recorder if the main unit fails (and the tentacle as a backup if the TC unit attached to camera fails ; ) chris
  3. feels also more responsive here - so since I don't use tapatalk, I'd call it an upgrade. hehe. thanks Jeff, for putting up with all this!
  4. ok, here some (hopefully constructive) criticism: firstly, linking to amazon seems like a very a poor choice to me, even (or specially) if you don't pocket the money yourself. an ME-2 can be found at professional sound houses for 130USD instead of 200USD on amazon and you support people actually caring about sound. so people will get the mic cheaper and amazon will not wipe out people with real jobs they care about. second, the whole article doesn't *really* help anybody to choose the right mic. it's a mix of manufacturer specifications (which are usually overstated in this budget gear) and useless phrases. third, the web design and amount of ads and pop ups for the ebook and social media links make it really feel like a commercial site with click bait. I know it takes lots of time and energy to make a free site with genuinely useful information, but frankly this page on your site is pretty much useless even for beginners. sorry for the harsh words chris
  5. It seems a bit of a strange question to me, since equipment failure could probably best estimated through statistics, which means you get a fairly spread out range with a certain probability range. problem is you need a lot of data to make estimates and it will unlikely be a nice bell curve, but something strange. for example, magnetic harddisk are either likely to break in the first couple of months, then they are fairly stable and then their failure rate starts to increase again after some years of use. but each model (not even brand) will have a different curve, depending on the manufacturing process. if you're interested in this kind of thing, backblaze publishes some amazing yearly stats: https://www.backblaze.com/b2/hard-drive-test-data.html let's say I bought a MKH 50 - what is the expected life before it needs service or breaks if used gently in a studio environment? my wild estimate is probably 20+ years, but that doesn't mean I could be unlucky and next week it could start to make buzzing noises. I could also be lucky and it could work flawlessly in 40 years time. Now let's say I bought a Zoom H5. again it might well be that it still works fine in 20 years time, but it's pretty much impossible to tell unless we wait a few years and get access to manufacturers repair data. And even then, it might turn out that failures are pretty evenly spread out from 1-30 years time (rather unlikely that they all fail after 5 years). In short, buy quality gear, have things looked at if you suspect something's fishy, and charge production for stuff they damaged ; ) chris
  6. or may not be coming ; )
  7. Assuming on corporate solo shoot the receiver is usually in the same room and within a few meters of the transmitter... It seems to me that in those conditions a better quality mic (DPA4060/COS-11/MKE-2 over ME-2) would improve the quality significantly while the transmitter power (50mW over 30mW) wouldn't really make a difference. I'm far from an expert in this field, but I once tested a G3 with exactly these four lavs and I won't use the ME-2 anymore if I can avoid it somehow (sounded pretty bad in comparison). chris
  8. jep, like here:
  9. Generally speaking your approach would work (although I'm not sure what you mean with "3 Males") but... - first of all why don't you just use one transmitter from the mixpre to two receivers on the same frequency? - as for receivers, don't forget that you need an IEM series G3 for the director (or a portable headphone amp) - be aware that a normal 100series G3 only outputs only hot mic level/low line level, while the mini only accepts line level, so the feed on the mini will have to be boosted digitally.
  10. so, which one sounds better? ; )
  11. Hi Steve, thanks for the input. Out of interest, does your advice also apply for battery powered recorders isolated from main? I could imagine in such a case neither would the input device act as drain not is there any danger of frying the person holding the mic, but my understanding of the electrics involves is very limited. personally I like the idea of not grounding the shield at all thus reducing the risk of any power transmission at all.
  12. ah, that's easy then, and simple to explain in a couple of lines on a forum ; )
  13. I hope I'm miss understanding the question here...
  14. point taken, and my apologies - of course the situation is different in other places. out of real interest: what is a typical camera package on those projects? like 5DMKII, Canon C300, or RED? I'm asking because it seems to me that often project are willing to rent a 100'000 camera package and still argue about a 1000 mic.
  15. for me all these "cheap" microphones only really make sense for no-budget filmmaking (or maybe for a solo shooter just starting out). for anything that involves professional crew, time and money, just get the real thing. they are more reliable and sound better and last forever. and if you're really broke you can rent one for like 10-15EUR a day (for the one piece of tech kit which probably makes the biggest different in sound quality). chris
×
×
  • Create New...