[David C jones]

Well, Ty is really the one who could answer this better than I, but check out this link from Sound Devices:https://www.sounddevices.com/notes/general/552-or-7-series/

If you’re doing serious “double system” recording for dramatic productions I would go with the 302/702T combo; I think you’ll have more options. If it’s more run-n-gun style shooting you’re doing, then the 552 might suite you better. My understanding is that the built-in recorder on the 552 is really designed more for transcriptions and for backup then primary audio.

Dave J

[David C jones]

Hi James,

What are you planning on using it for?

Best,

Dave J

[David C jones]

I would use a Rycote Softie sized for your particular mic. But even that may not help much. It seems most people are using the RE-50 hand-held mic in those situations; you may have to use that for both interviews and as your nat sound mic.

Best,

Dave J

[David C jones]

Hi Shane!

Yeah, only digital. It’s a Caldigit VR 2TB RAID. Should I get another one or, like you said, something cheaper like a G-Raid for back up of original footage?

Thanks again!

Dave J

[David C jones]

I never shot a meteor shower but, I think with the ex-1 you’re going to need to shoot high-speed ie: more frames-per-second, and not the other way (time-lapse). Remember, you’re shooting something moving extremely fast.

The other option (which may not be an option) is to use “night vision” which will give you a green or black and white image, probably not what you were looking for.

Best,

Dave J

[David C jones]

Hi Shane,

Thanks for the response! Yeah, the original plan was to go to HD tape first, but costs have changed that.

We have 31 400′ rolls of film that have been “prepped for transfer” so, they’ve been consolidated down to several LAB ROLLS.

Assuming they’ll be transferred in order, I was wondering if I should have them (the actual camera rolls) transferred in a way so each roll is a separate clip (if that’s even possible) or if there is some sort of standard that’s used when transferring film to harddrives. Then sub-clip the scenes that are within the rolls in FCP? I think you already answered this but just in case…

Dave J

[David C jones]

Something else to keep in mind: as I understand it, the 5D takes the 35mm full-frame and compresses it to 1080p @ 50mbps, meaning you don’t really get the resolution of an uncompressed full-frame camera like an ARRI, RED or Sony F-35.

Dave J

[David C jones]

Hi Malek,

If you haven’t read this already, check it out; it might answer some of your questions.

https://magazine.creativecow.net/article/hdslrs-for-video-beyond-the-hype

Dave J

[David C jones]

Greetings!

Are you running mic or line level out of the mixer? What type of stuff are you recording?

If the AGC is on in the camera it could be causing the compression issues (depending on how loud the sounds are you’re recording). The camera, of course, should be set up with tone (at 0dB) from the mixer and left alone with all adjustments made at the mixer.

Dave J

[David C jones]

Thanks guys!

I hope to be getting them both soon 🙂

Dave J