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Showing results for tags 'SoundDevices 788T-SSD'.
Hi guys, I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries. The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds that I need to ensure are picked up both from a distance and close-up. I'm thinking of investing in a Schoeps SuperCMIT 2U or CMIT5u for the outside audio, feeding into a SoundDevices 788T-SSD recorder (with an XLR out to the camera for a base sync track). But want to ensure that I'm also capturing the surrounding audio as well, with the ability to mix (or leave out various channels) in post later. There is the need to take the immediate surround sound out at times, as I can occasionally be stood with other photographers and their camera shutters going off sounds more like a machine gun on the audio, so that obviously needs to be reduced as much as possible! For interviews, im thinking more of a Sennheiser MKE418, with something like a Sanken WMS-5 for the outdoor surround sound. My line of thinking is that outdoor would have a Schoeps and WMS-5 using seven channels on the 788T, while interviews would just have the MKE418. My question is do you guys think that is over the top, or the wrong set up? Also, for those who have used the SuperCMIT 2U/CMIT 5u I understand from a couple of colleagues that both the base setting and one preset at a time can be recorded simultaneously, so i presume that takes up two channels? I'm guessing the WMS-5 is the same but using 5 channels? Would something like the Schoeps Double M/S CMIT be a better idea than the WMS-5 AND SuperCMIT? Also can any of you guys suggest the best set up of windscreen for the shotgun mic that can minimise the noise of a gale on a hillside! I'd value your views? I haven't had chance to talk to any other sound guys that I know yet, so would value any opinions. I've no problem making the investment, but want to make sure I do it right, and with kit that is going to deliver long-term, potentially in a variety of weather conditions! Cheers Richard