[David C jones]

Actually, I think it was just me 🙂 Not use to hearing audio through Comteks (and the companding(?)) and the difference in quality compaired to my phones output on the SD.

Anyway, assuming my gain structure is actually correct, is there a set gain output setting you recommend for the transmetter? Right now I’ve set it at 50%.

[David C jones]

Hi Lisa-

In my opinion:

1. If you’re using two lav/wireless systems at the same time, they should be the same. Different systems can/will sound different so, using the same lavs and wireless units will give you consistent sound.

2. I wouldn’t go any cheaper than the Sennheiser G2. That’s something you’ll probably hear from everyone on this forum. When it comes to wireless systems, you really do get what you pay for.

Best,
Dave

[David C jones]

Hi Shuling,

Link-in-Sync is a program that works with FCP by looking for matching timecode from the camera (video clips) and the audio recorder (audio clips). The program runs about $500.

A “smart slate” is a timecode slate like the ones found at this link: https://www.denecke.com/Products/tcslates/tcslates.htm#TS3

The way it all works is that during production the audio recorder is feeding timecode to the “smart slate” and, in turn, the slate is jamming the timecode into the camera. Or, the “smart slate” generate timecode and jam it into both the camera and recorder, depending on how the production company wants it.

So basically, the production crew has to be using timecode in order for you to use Link-in-Sync.

Regards,
Dave J

[David C jones]

Yeah Michael, and while we’re at it, that doesn’t look like the standard lens ether 😛 Let’s hear about that sweet set up!

Best,
Dave J

[David C jones]

I didn’t mean to start a fight…lol.

I realize there are many differences between the EX cams and what are considered more “high-end” or shoulder mount models. But in terms of pure image resolution, the EX with 1/2″ chips, full-raster 1920X1080, adding the nanoFlash with 4:2:2 color space, and up to 220mbps, Oh, and 24bit/48k balanced audio recording to CP cards, how can it not be taken seriously? Convergent Design claims that the images are close to looking uncompressed.

Dave J

[David C jones]

Hi Josh-

I have to agree with Ty, you just don’t have a budget to get everything you want. At the very least, you need about twice that [$700]. You also need a good pair of headphones like the Sony MDR-7506 (at $95).

Mics mounted on cameras are fine for picking up general ambient sound, but usually not so good when trying to pick up clear sound from subjects. That’s why you see sound guys booming from overhead.

As far as recommendations that fall within a more realistic budget I would look at Audio Technica shotgun mics like the AT4073 $599. And the Sennheiser G3 wireless system also $599.

Regards,
Dave J

[David C jones]

The Most recent American Cinematographer magazine’s cover article is Public Enemies. It talks about the use of the Sony F23 & EX1.

No real details on the settings they used on the EX1, but they do talk about why they went with digital: they didn’t want what we call a “period” look, they wanted a more realistic look like what you get with digital.

Check it out here https://www.theasc.com/magazine_dynamic/July2009/PublicEnemies/page1.php

Dave J

[David C jones]

Hi Jim-

[Jim Bruce] “Do you have a particular model of boom pole that you’re happy with? Thoughts on the KEG 100CC?”

I use a PSC Elite coiled pole. As far as I can tell, the KEG 100CC looks good. I’ve never heard anything bad about K-Tek; they’re one of the leading boompole companies.

[Jim Bruce] “Are you happy with the Boom Mate? It looks kind of flimsy in the picture so I was also considering the “Boom Cradle” for a similar price: https://www.bhphotovideo.com/c/product/329191-REG/ATS_RAM_BPC_BOOMPOLE_CRADL...”

The Boom Mate has never failed me, but I’m not a huge fan of it. The rubber grip that mounts in the C-Stand has come (somewhat) loose. The Boom Cradle looks good but I’m not (as of yet) a fan of using light stands to hold a boom. I would still go with a C-Stand.

Best,
Dave J

[David C jones]

Hi Tim-

Craig [Seeman] in another thread (just giving credit where credit is due) suggested that it could be a firmware upgrade issue with the EX1. I believe he was saying that if different cameras have different firmware versions, the white balance may not match. Hopefully he’ll chime about this 🙂

Regards,
Dave J

[David C jones]

Hi Jim-

The package from B&H is good but I would also get a Rycote Softie Mount to use with the Softie they included in their package.

[Jim Bruce] “Cabled Boom Pole – any models recommended? – graphite vs. aluminum? is there a big difference between high end aluminum ($250ish) and low end graphite ($400ish)?”

The only real difference in price between different graphite poles has to do with size and cabled vs. non cabled. There’s nothing wrong with aluminum poles unless you’re planning on having someone hold one for a better part of a day. They ARE heavier than graphites.

[Jim Bruce] “Shockmount – Rycote S Series? Which one?”

I use Rycote windshields for all my mics. I use softies for my MKH-418S & MKH-60, and an S Series for my MKH-70.

I also use the Boommate with a 40″ C-Stand for long sit-down interviews. I wouldn’t recommend having someone hold a boompole for more than a short interview.

Dave J