Hi, I am trying to film a mini documentary for my college project. I am not sure what mic to get. Should I get a shotgun mic or a Lav mic (Wired or wireless?).
I also need to make a short film as part of my curriculum. So, would be awesome if you could suggest something that could work for both. (Or should i just dub?)
Please remember I am a student and would really appreciate budget friendly options.
Has anyone here had experience dealing with repairs or customer support for DPA, Sanken, or Sennheiser in the US? I’m looking at their shotguns and lavs and would like to know if any are especially good or bad. I saw posts on another forum that said DPA service isn’t very good in the US. Thanks!
hi! I need help. I'm a journalist who does photo and video. I have made a pair of documentaries and right now I'm buying material for the sound. I'm going to make a documentary in Ukraine at the end of the year and I'm looking at a lav mic for my Sennheiser Profile Wireless and my three options are the Sanken Cos 11-D, Sennheiser MKE2 and Countryman B3. I'm open to more options but I can only spend 300-400 euros.
I will be placing the lavs under a lot of clothes and in field locations, so I want to know what's the best in terms of resistance ande durability and also I'm worried about the RFI because the Sennheiser can record 32 bit internal but I want a lav that has a good RF shielding. I want to hear your recomendations because you are the professionals.
Thank you in advance.
EDIT: I have another spare system with two Boya UHF and lav mics but are very cheap lavs. Also a pair of recorders and a Rode Videomic NTG as a backup sound and portable boom mic. My doubt is about the mic lav.
I recently came into possession of a few comica wm200 lavs. I was under the impression they could run the lavs through separate outputs. How do I do this, was I mistaken? If anyone has any insight I would greatly appreciate it!
Hello, I'm currently running a mix pre 10 with 4 sets of sennheiser g4s. I have a mix of cos11s and mke2 gold for lavs. Things sound pretty good, my only issue is interference over distance or corners and the desire to be able to control frequencies and gain remotely.
I realized that the mcr54 might be a good way to jumpstart my upgrade desires since it's compatible with the g4s transmitters and from what I see online should boost the range and solve some of the problems I have with drop outs and inrerferences.
With the ability to upgrade the txs to more compatible wisycom's at a later time and the convenience of a 4 channel receiver would this be a good move?
Also asking for opinions from people that are already familiar with it.
Thank you
I know this is definitely a personal preference to do with the gear I’ve currently got and my standard gigs etc.
From what I’ve read, the A20’s sound the best, have internal 32bit recording for redundancy, and the range is quite good.
Why should I not get them, compared to say Wisycom?
I'm shooting a scene in this kitchen soon with lavs (Rode Wireless Pro 2) and a boom (Rode NTG5) but I'm getting quite a bit of echo.
I suspect the main culprit is the slate floor, so I was thinking of covering the floor in blankets. The floor won't be visible in any shots so can cover the entirety of it.
The room itself has a decent amount of furniture/angular things on the walls so I'm hoping that might be enough?
Ultimately we're filming the scene quite tight so I can get my boom pretty close to the actor (who will be sat at the breakfast bar in the middle), but obviously want to take as many measures as possible to get bulletproof audio.
Alternatively for close-up takes would it be helpful to literally hang a blanket on a C-stand just out of frame?
Thanks so much for your help!
I'm working with mountain biking, so I go through a lot of abuse on lav mics. Often the covers fall off, and the clips go missing. Do anyone have any good suggestions for mics, furcovers and clips that fit eachother? I'd prefer under 400 dollars if possible.
I'm just starting to get involved with recording sound for local low/no budget indy films. I'm really interested in timecode and how it's used. I've seen timecode enabled slates from several vendors (Denecke, Ambient, Deity, Tenacle, etc.) - they seem like they'd be really useful but they are really expensive for what they are. I have a few Deity TC-1 timecode generators and rarely use them all. I was thinking I could make my own slate by plugging an extra TC-1 into a timecode display and velcro it to a regular slate. Nice idea but I couldn't really find such a display. Denecke makes some big timecode displays for studios - also expensive and most are too big. Tenacle makes the Timebar which is close to what I'd imagined but at $400 it's still more than I'd hoped, plus it is it's own timecode generator and I really just want a display (I already have an extra generator).
Has anyone else felt the need for a low cost, high visibility, portable timecode display? Is there a product in the market I'm overlooking?
I'm kicking around the idea of making my own that could be stuck to a slate, or a sound cart or a monitor, whatever. It could also provide diagnostic capability (lock state, signal health, frame rate) to allow you to see exactly what's coming out of your generator and into your camera or recorder or whatever.
Is this something you'd find useful? What would you use it for?
Hi everyone! Next month i'm going to record some outdoor winter scenes and i'm a bit worried about the performance and safety of my equipment. Here goes a list of the things i'm going to use:
-Zoom H6 recorder
-Sennheiser G4 lav mic
-Rode NTG2 boom mic (with zeppelin and deadcat)
-Audiotechnica ATH M50 headphones
What do you think? Do you have any experience or advice for this kind of situation? Thanks in advance!
I’m currently planning a shoot that involves a dialogue scene between two characters inside a shower, with the water running.
I have two main concerns and would appreciate any advice:
I was planning on saving money until the end of the year to buy my first mobile recorder, but now that I saw this I'm really considering if I should go ahead and buy this one already.
Although 8 inputs is overkill for my current projects, I wouldn't have to upgrade this for the foreseable future for my film set work. I wouldn't need to buy a replacement for my home audio interface that stopped working. And I also recently had my first semi professional concert foh and recording job, so I would have my own 8 input interface with which I could easily record smaller concerts in the future too.
The mic pre amps can't really get much better than this for a device like that and it has 32 bit float.
Wanted to post this here for others who might also want to look into this offer, I have no idea how often these go on sale, there's no price tracker online sadly. Maybe they do these offers quite often, I don't know that unfortunately.
I have no experience with audio, so I wanted to ask for your advice.
I'm filming short scripted scenes for YouTube with four actors, and in most scenes everyone has dialogue. I was thinking of getting a setup with four wireless mics and one receiver. Does that sound like the best approach, or would you recommend something different?
Also, is there a particular brand or system you'd recommend?
Greenslate - kit as a taxable box rental or non taxable?
Sorry if this is a dumb question. Any idea which one I should select?
Thanks!
Heyo! I’m a third year film student who has found a calling in production sound. I’ve been steadily improving, building up a kit I’m really proud of, and getting to the point where I can rely on it without much worry.
I just landed my first paid gig (yay!), and it’s a 3-4 week feature shoot. I’ve done plenty of shorts, but I’ve never worked on a project this long.
I was wondering if any of y’all have advice on the differences between features and shorts, or any tips and tricks you’ve picked up while working on features? Whether it’s gear, workflow, staying organized, working with the crew, or just things you wish someone had told you before your first feature, I’d love to hear it.
I'm on alot of doc-type shoots where the operators will drop into S/Q mode (Canon Slow and Quick) or change shots back and forth repetitively when getting shots to get both realtime and slow motion. This is mostly for B-Roll shot so audio isn't typically the biggest deal, but how does this usually get handled? I assume timecode on my end will be set at the project frame rate. If I put a tenacle on each camera will they sync properly on the 23.98 or 29.99 clips and what happens with the 59.94? In SQ mode they usually get conformed in camera to the 29 or 23 frame rate.
I have Tentacle Syncs currently and I think I'm gonna have some projects coming up that are also require a camera hop. I see some ERX2TCD pretty cheap used and IFB200's. Is this a good solution for camera hops? It seems like it would be nice to have both the audio and timecode on the same receiver. I've heard people don't like the range with 2.4ghz
Do most people do just mono on camera hops? What cases are you providing stereo? It seems really to make sense with Zaxcom on stereo, because straping on two g3's and a tentacle seems like a mess.
(Side question) For wireless boom are you typically sending just the boom back, or boom + talkback, or are you sending 2nd boom and/or wireless lavs or anything else?
Greatful for any insight. Thanks!
I need to hard wire a few lavs and all of my lavs have TA5F output and I need TA5M to 3-pin XLR adapter. I know the Ambient Recording one but if there's more affordable adapter I'd rather go with that. If it's something I can do by myself that's an option too but I need some resources for that to how to wire etc.
Hi everyone,
My sennheiser mkh50 is making this hissing/sizzling noise. Has anyone experienced this before? Ive made sure to tighten the screws on the body and used two different recorders and xlr cables. And if I were to get this serviced, would it be pricey? I would really appreciate any insights.
There is a project I am preparing for where they want to potentially put a microphone on the inside roof of a car and have it be able to be moved to follow an actor from outside of the car. Of course the concerns are cost, size, and noise that is projected outward the the scene and is transferted to the microphone. We are not sure if this a possible solution. So I wanted to ask this community if anyone has done this.
Has anyone used a mic on a gimbal?
Was it a good solution?
What brand gimbal did you use?
If the answer is no then I am wondering if anyone knows of a product I could test this with. If you have an alternate solution I would be curious too! Thank you!
Edit:
Some more information.
First this is a research project.
The goal is to create a small fischer boom inside of the car essentially.
All actors are going to be micd, they will be inside of the car. The car will have plant mics.
I am not in charge of saying this is a good solution or not. I am in charge of trying it and saying if it works or not and then coming up with other solutions for a mic with perspective as opposed to the omni mics in the car.