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  2. Yeah it didn't get much discussion the first time around, which is a pity as I'm quite a fan of Sanken now
  3. I agree! Except not every DoP/AC agrees.... Practically speaking this is often not possible for me in the moment.
  4. Today
  5. Def better to focus on skills. I've heard stuff from a kid with a rode ntg2 and zoom h4n that sounded surprisingly good. Its so easy to clean up recordings with the software out now.
  6. I very much agree that at this point of your career (one feature film plus a handful of other small projects under your belt) then nobody at all really truly cares what gear you have so long as "it does the job". Probably wouldn't recommend the 416 though, I reckon your shotgun boom is a key enough piece of gear it is worth spending a little extra rather than going with the ancient 416, or again the opposite is also worthwhile, you could at this point in your development just as well save your pennies and get a Rode NTG3 / Deity S Mic 2 instead. Feel like Timecode boxes are worthwhile buying sooner rather than later, as now in 2019 they're dirt cheap and we're spoiled for options. Plus it places you a cut above anybody else starting out and who isn't bothering to think about this important details yet.
  7. Ultrasyncs are cool, but the mini DIN connectors will result in you needing to buy a host of custom cables, and unless you can make them yourself, the cost adds up. For me personally, I haven't found that OMB work, such as small crew doc or corporate video, necessitates the wireless sync or genlock features often enough to make the ultrasync worthwhile. I'd much rather have something more rugged, with bnc connections, like a Betso SBOX-1N, or a Denecke JB-1. If you work multi cam shoots often though, I'm sure the Ultrasync One is great.
  8. I knocked out a couple of my own videos during 48Hours (a competition when you need to make an entire short film within 48Hours! Very popular in New Zealand each year) for my YouTube channel "Sound Speed!":
  9. Yesterday
  10. Indeed not an easy business to be in as a father or mother, but I must say, being a father is what I've enjoyed the most. Cheers to all the dads worldwide. CrewC
  11. Thanks Philip, and right back at you. I would also like to chime in with a Happy Fathers Day to everyone. Best, Johnny (father of two awesome kids)
  12. A happy day to all the hard-working sound Daddy-os out there. Family+movie sound work= not easy.
  13. I’ve experienced Arri cams to hold sync throughout the day after being powered down; and I’ve seen them drift after coming back from off speed. Like the others have stated the size of modern sync boxes pales to the amount of real estate all the shit camera dept. puts on them these days. Time for a meeting with DP, Editor, Producer, Director and have DP explain why he/she feels a sync box is unnecessary.
  14. hit me up if you need a sound guy, gear or fixing advices in the swiss area. Happy to help and provide. Geneva zone and further. (also if you are on vacancies in the region, hot me up if you wanna meet : Let's have a cold or hot beverage and discuss audio stuff or philosophy or weather or where to go for visiting Switzerland)
  15. I Highly recommend the Pearl MSH 10...hyper M with S..quiet and good reach..
  16. I have the AT bp 4027.... And I don't personally like it. Those electret capsules are a bit too noisy for my schoeps and MKH formated ears... And it's not very sharp in therms of middle bass reproduction if you ask me. Actually It's one of my dust collecting mic that I never have the chance to put in action. Thanks for the input. There are the polar pattern dispayed in there, so there is the answer to my first question. The mid is a cardiod, I would have prefered an hyper....
  17. here in germany its a common standard, from practical side for documentary shots its unbeatable, no mic swapping, gathering ambience and dialog at the same time and the advantage that you have a dedicated mic mid are big pluses. anyway if you want to deliver xy for whatever reason you can matrix while recording in nearly every modern recorder, but then you loose the easy control of the center signal in post.
  18. For many years I've understood that post do not prefer mid side over XY Despite the BBC liking it for some work I heard it likened to telling a DP to shoot only on a 50mm lens! mike
  19. I don't think anyone can read Arri 16mm timecode. It never really caught on. And I do have a 416...
  20. The earliest scenes in films showing Nagras that I can think of are both French. If you look carefully, a Nagra II is visible in Godard's Breathless in the scene where the famous person is meeting the press. Blink and you'll miss it. In Jean Rouch's Chronicle of a Summer, some scenes were shot with the subject schlepping a Nagra III and wearing a mic. These were photographed by Pierre L'Homme using a prototype Eclair KMT camera -- 1959-60 IIRC. You may be able to see a Perfectone recorder in the first American cinema-verite film Primary -- it was before they got Nagras. Klute shows that Nagra SN lookalike, the Edwards, years before an actual SN appeared in Coppola's The Conversation. Of course there's a Nagra III wielded by Peter Bonerz in Medium Cool -- who knew Chicago news crews in 1968 shot double-system? 😉
  21. Why don't you post a photo of what you have and I'll tell you what you got. Include the serial number. Thanks
  22. Last week
  23. Thanks someone send me a photo and a explanations. gr
  24. I have a nagra sn here with no text on it. So its all clear metal. Are these samles or the first one ever made sn recorders.
  25. Super cool, Jay! Yeah, I'm on campus too, and still working regularly in LA. It gets complicated sometimes!
  26. there's a (rather short) thread about this from a couple of months ago:
  27. mine is working fine since years with an neumann cable. you can use any 7pin cable, just solder an 7pin xlr at the mic suspension side. i like the soundstage of this mic alot, in comparison to sennheiser 418, the at bp4027 and sanken css5.
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