Will Salley
Forum Replies Created
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Different post, same answer-
https://www.sennheiserusa.com/newsite/mat_dev/frequencyfinder/Freqfinder-ew.asp
Don’t worry too much about Bosnia, they probably don’t have much UHF – but you should check with the local officials regarding wireless usage. They may require permission and/or permits. Local (destination) TV stations may be of help.
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I would recommend using your current setting (-50 on the camera and tone @ -12) as a starting point. However, the metering on the camera may not be of the same type as the mixer. It is probably a “peak” level meter and the mixer may have that, or an RMS, or both (the larger Sound Device mixers offer several combinations of metering).
Connect everything up and observe the meters of both devices while using a typical source such as dialogue. As you become familiar with how the meter behaves on camera and mixer with the same source, you can set levels with some confidence. Also try other sources, such as music and other sources with different transients so you can observe how those meter.
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[Ty Ford] “The hypercardioid is quite usable in interiors”
[Ty Ford] “I use a Schoeps cmc641 in interiors all the time.”
I have that same capsule. I was thinking of it as more of a “supercardioid” and a I.T. shotgun as a “hyper”, but I get a lot of terms wrong.
System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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Are you using it on interiors? It’s gonna sound that way if you have live (bouncy) walls, floors or ceilings and/or a small space – say less than 12’x12′.
The only time you should use a shotgun, or hypercardoid mic, is on exteriors and sound treated interior spaces. You can use sound blankets to temporarily deaden walls and overhead, but sometimes DPs and Lighting Directors will have something to say about that – so just use a good cardoid condenser, get in as close to the camera frame as possible, and aim the mic at the talent’s mouth or a little in front of it if they move their head. 2 feet is too far (for the ME66). If the level falls off a little as they turn their head, don’t worry, that’s natural. Just keep it intelligible.
If your MKE66 sounds hollow on an exterior, make sure you aren’t monitoring another mic, like a lav, in with the shotgun.
System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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Are you talking about the control surface or the rack?
System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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“Sennheiser, Tram, Countryman, Sonotrim etc”
Great start!
Sennheiser MKE-2 – Good all-around, sound is very good, medium/small capsule size, fairly reliable. Slight boost at mid highs.
Tram TR-50 – Sound is good, Excellent for news or corporate where exposed mic is not a problem, very reliable. Side address. Clip is cumbersome.
Countryman B-6 – Sound is excellent, good for hiding in clothing and hair due to small size, fairly reliable, have had some problems with small cable getting pinched.
Sonotrim – Don’t own any Sonotrim… but I have used on rentals. Seem to be very reliable and sound is very good.Also check into Sanken COS22 and DPA lavs, they are also used in extensively in location sound applications.
Sony ECMs are also good, but will be boosted on the low-end (boomy).BTW, Be careful of ground issues and line hum with the 1202. The earlier models seem to have less noise than the new models.
System Info – G5/Dual 2 – 10.4.7 – QT v7.1.2 – 8GB ram – Radeon 9800Pro – External SATA Raid – Decklink Extreme – Wacom 6×8
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As a FCP and Pro Tools user, I agree that the two apps require a major shift in thinking. Even navigating the timeline uses totally diferent keystrokes, aside from the space bar for play/pause. If you haven’t yet learned Pro Tools, you might find Logic a bit more intuative. It integrates well with FCP and I think even the “Express” version can handle most any audio file you throw at it. I guess the big question is if it will work correctly with the Digidesign hardware. FCP works with the Digi 002R – so I assume Logic will as well.
If you can get to an Apple store with the Pro Desk, they have a demo you can try.
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I always customize the screen layout according to the task.
The right side monitor has the timeline, viewer, canvas, and audio mixer windows. It’s also has the menubar / startup.
If it’s a quick :30, I usually use whatever I had for the previous project. For large projects with 100+ clips, I’ll separate the clips by some logical means make a bin for each set of clips. I’ll arrange those bins, side-by-side and “skinnyed”, on the left monitor. I think this is what you mean by “Avid-style” because that’s the default Media Composer setup, except that on the Avid, you were locked-in to the main interface (timeline & viewers) on the same screen.I save the screen layout and keyboard layout, along with FCP user prefs, Blackmagic user prefs and settings, and monitor color set-ups in a folder in the project folder. I also save a new version of the folder at every project backup.
Some types of projects will have only the timeline of the right monitor. Cutting to music via the waveform is an example. I make the waveform huge and place the markers directly over the peaks.
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FCP is Mac only. I’ve never seen a virus or spyware on OSX. Not saying it can’t happen, but until it does, backup often and forget about anti-virus software.