newzhack Posted November 5, 2019 Report Share Posted November 5, 2019 I am starting a new movie this Saturday and wanted to get some advice on a new work flow I am going to try. I have my recorder set up for 12 channels, I have never used that. Should I look for any gotcha's using the12 channel mode? I have a stable of Sennheiser 5220's and a couple of sk250's that are still working well. I have a mixture of 3041 and 6042 receivers. I usually put and record the boom on x2 and label it boom and was thinking about feeding channel 7 from a 6042 to that channel at line level. That way I have a constant monitor for that channel. I use x1 for comteks. I do a RL mix of the lavs and supply ISO tracks. I do have a cl12 that should arrive this week but I am a little leery of trying to many new things at once. I don't have the workspace for the CL 12 either. I work off the top of a Rocknroller. Also with the CL 12, how much shorter battery life? Any suggestions would be greatly appreciated. regards John in OKC Quote Link to comment Share on other sites More sharing options...
Derek H Posted November 5, 2019 Report Share Posted November 5, 2019 Not sure I understand what you mean by a constant monitor for channel 7. If I were you I’d simplify my mic routing and just mix down to mono on one of the LR tracks. I don’t understand mixing lavs left and right and creating a 2nd iso for your boom. If you’re recording all the input isos then why have anything other than a mono mix? A movie is not an ENG job. Quote Link to comment Share on other sites More sharing options...
newzhack Posted November 5, 2019 Author Report Share Posted November 5, 2019 thanks, I will do that. Quote Link to comment Share on other sites More sharing options...
Derek H Posted November 6, 2019 Report Share Posted November 6, 2019 You also might reconsider the CL12. It’s a real pain trying to control mix levels for inputs 7-12 without it. You have to dive into the PFL menu every time you want to adjust trim or fader wouldn’t really be possible to mix a scene that way. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted November 6, 2019 Report Share Posted November 6, 2019 53 minutes ago, Derek H said: You also might reconsider the CL12. It’s a real pain trying to control mix levels for inputs 7-12 without it. You have to dive into the PFL menu every time you want to adjust trim or fader wouldn’t really be possible to mix a scene that way. I did it because I had to and it sucked. Look for a used CL6 somewhere maybe--when I had my 664 that made the 12 channel thing a whole lot easier without adding much to the bulk. You also get nice big illuminated record and stop buttons and more meters. Quote Link to comment Share on other sites More sharing options...
newzhack Posted November 6, 2019 Author Report Share Posted November 6, 2019 I have one arriving today. Little leery of starting a movie with a new piece of equipment. Gotta be bold. Normally I take chances but I have learned to be very conservative on shoots. 45 years of mistakes. Thats my selling point, I have made most of the mistakes already. In the 70's I fried two Nagra I's in a day. I have tried to run everything off batteries since. Quote Link to comment Share on other sites More sharing options...
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