[Craig Alan]

[Michael Gissing] “Sometimes trimming the fat throws away flavor. Simplicity is not always clarity.”

Nice.

Like when you hear that if it doesn’t drive the story forward it should be cut. Not always. It might enhance the moment or the character or the relationship, or the space between. The story is the vessel that holds the moments, the characters, the beats, the drama. And they return the favor. Who serves who? It’s both and not either or.

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[Craig Alan]

Six portals that control whether you can get to a national audience unless you do it via the web.

“… unless you do it via the web,” which has become a serious player, a viable means of distribution for professional content.

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[Craig Alan]

yes 21 mm on AT’s site. same as the MK41 Supercardioid Capsule. Is the only advantage then to the blimps is that different diameters would work with it?

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[Craig Alan]

this will work as well as a blimp?

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[Craig Alan]

We have the mixpre-Ds already. Not sure how much better suited the smaller mm-1 would be. Seems a similar advantage disadvantage for this application.

Where/how would you mount either? Can’t imagine using a shoulder strap and trying to use a boom pole. Looked for a belt pack for it but didn’t see one. And all the cases I see listed for these are really for larger mixers.

What devices are part of an industry standard boom op kit?

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[Craig Alan]

Thanks Ty,

We have a Schoeps cmc 6u mk41 kit. Not sure if that is the exact model you mention. But it is by far my favorite mike. Yes a step up from the 4053. However we have a bunch of the 4053 and get good results with it as well.

I understand why Hypers are better indoors than shot guns. But what about in reverse. What’s the upside to using a shot gun outdoors over a good hyper?

‘I don’t really know of anything “in between.”‘

Yeah that was kinda what I was asking for. Or if not, I’d like to get some serious wind protection for the 4053. But again is this not the right choice for outdoors?

I could spring for the Schoeps CMIT if that is the only solid option. I’m basically aiming to get the kind of quality outdoors I can get indoors with the 4053.

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[Craig Alan]

Thanks Richard. We own the mix pre Ds already and use them in post and under small cams or DSLRs for xlr connections and pre amp. However I do agree that they are a bit of an ergonomic problem for a boom pole operator and I agree that I do not want them overriding the audio tech operating the 302.

But I do want a way for the boom operators to hear what they are picking up. And in the process learn the effect of distance, aim, and pick up pattern.

The link to the pm55 shows the unit has a ‘mike level’ so isn’t that the same as the SD pre or mm1? Or is it just amplifying the signal for monitoring and does not pass this through? Comes with a belt clip but you’re suggesting it could be mounted on the boompole?

So inline would mean xlr from mike to pm55 then either xlr out or transmitter out to mixer?

Where/how would this be attached to boom pole so that the headphones inputs are in a good location?

Does the PM55 effect the pass through sound quality at all?

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[Craig Alan]

Hmmm. I find the AT 4053 seems to pick up the intended speaker more clearly even if you can hear back ground noise, seems like a more natural sounding voices and we’ve had problems with the shot guns with static and handling noise.

there may be lots of reasons for all this so really lets just edit the question to ask will a different type of mike than the AT 4053 be better for outdoor shoots and if so what would you suggest up to about $1200.

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[Craig Alan]

Not sure where the his/her came from (auto spell check maybe) but this is for the boom operator right?

Will the mixpre D be as good? and how would this work with a plug on transmitter or xlr going to mixer? do I use a xlr split cable? or IN the boom amp and OUT to the mixer? Or out the mixer to both the camera and boom amp?

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[Craig Alan]

Please post your experience. I am in early stages of a longer format film using one of three cams for sound and will need to sync TB’s of footage. No given run will last more than 70 min but I have no experience with this amount of media.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.