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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Who Has Questions?

K

KC M

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Hey everybody, I'm starting up this post so that if anybody has questions about recording gear, on-location microphones, recording audio for interviews, etc. Anything audio, get it answered by a professional audio engineer. I have over 8 years of experience in the recording field, I am confident I will answer all of your questions, accurately and concisely.

So try and stump me!

KC
Studio Sound Design
http://studiosoundesign.com
 
I haven't seen the film yet (otherwise i could tell by listening to it) but I'd like wager a guess that those are Schoeps microphones in Cinela mounts... They look about the right length for Schoeps... and as an aside, I hear that the Cinela's are excellent with respect to handling noise (or lack thereof).
 
Thanks Mike...
I looked at all the suspensions of cinela (http://www.cinela.fr) but wasn't able to find the one, tht looks like in the B-Roll. I also would have assumed it was Shoeps they used, because most of the shots are inside but the Mount looks solid.
 
Question -

What sort of cable should I be looking for to connect the Sound Devices 552 digitally to the Epic "pro" AES/EBU digital input ? What's the maximum happy length for a digital audio cable of this type ?

Matt Uhry
www.mattuhry.com
 
Guys,

I removed all the unfriendly posts. Please behave.

KC, please re-register with your real name, as per forum rules. I do hope you feel welcome here, despite the rough start — if it makes you feel better: anyone registering without a real name gets banned, so it's nothing personal.

I love sound people, and would hate to see you go because of some posters.

Peace.
 
Mics For TSN

Mics For TSN

Hi,

Mark Weingarten Production Mixer of The Social Network weighing in.

I used exclusively Sennheiser MKH 50 mics in Cinela mounts for all the interior overhead boom-able dialog in The Social Network.

The Cinela mount is a work of art. Expensive, but by far the quietest mount I've ever used.

You can have your boom operator use a Schoeps without a Cut 1 filter, and the Senn 50's, which I find to be very handling noise sensitive, are totally workable when used with them.

I bought the Cinela mounts because I became enamored with the sound of Sennheiser 50's, but could not beat the handling noise in a lot of situations. Thought $ 300.00 is a lot of money for a shock mount, but I'll try one and see if it helps. After one day I bought a second one.

The same size Cinela fits both the Schoeps and the Senn. Called the Cinela Osix 2, purchased from Trew Audio.

P.S. I feel I'm sounding like an advertisement, but I have no financial stake in Cinela or Trew Audio, just passing on the info.

Kim Frank said:
That's agreat offer and I#ll give it a go.
What are the microphones used in most of the scenes of this Social Network B-Roll.
I'm not able to identify them
http://www.youtube.com/watch?v=flqrJQD054E
Thanks for your insight.
By the way, this forum has a real name rule.
Click to expand...
 
Wireless Audio Feed to the Red Camera?

Wireless Audio Feed to the Red Camera?

Hi All,

I'm putting it out there to ask about feeding the Red Camera audio wirelessly.

I have tried several different receivers and have yet to achieve stellar results.

And yes I have tried the argument that they should forget about the in camera audio and post sync all of mine, but.....

Anyone having success feeding a Red Camera wirelessly?

What's working?

Which brand / model number wireless are you using?

Are there any custom cables and or mounting brackets being used?

If so what are those, and where did you get em?

Thanks, Much Mark.


KC M said:
Hey everybody, I'm starting up this post so that if anybody has questions about recording gear, on-location microphones, recording audio for interviews, etc. Anything audio, get it answered by a professional audio engineer. I have over 8 years of experience in the recording field, I am confident I will answer all of your questions, accurately and concisely.

So try and stump me!

KC
Studio Sound Design
http://studiosoundesign.com
Click to expand...
 
Half way through the blu-ray right now and just have to chime in on how great the interior dialogue sounds. So rich and nuance-y : )

Thanks Mark for taking the time to chime in.. That Cinela mount seems amazing, watching a Youtube clip with the creator passionately talking about it..
 
Mark thank you for chiming in... I'll look up the insight you gave and hope you are open for some follow up questions. I love people who share their knowledge that's honestly something I miss over here in Germany. One thing I can ask right away is for the situation a boom didn't work what kind of lavs did you use. Also a general question. There is a lot of talk about dubbing but SN for example is original dialog most of the time right?how do you handle difficult locations and situations to achieve this, or can you work in any space with the right equipment?
 
Not related to the original topic, but thats called a geared head, the one in that clip is made by Arri called the Arrihead, and is quite expensive. You can find older used geared heads (not made by Arri) starting at around $6k for a working head. These guys make new ones which are quite good, I own one: [u]http://www.gearnex.com/[/u]
 
Would the Sen 50 with windscreen on the Osix 3 mount be an optimal combination for on-camera mic (all-around)? Or would another combination be superior in most situations and why?

-michael zaletel
 
michael zaletel said:
Would the Sen 50 with windscreen on the Osix 3 mount be an optimal combination for on-camera mic (all-around)? Or would another combination be superior in most situations and why?

-michael zaletel
Click to expand...

I don't think so. Buying or renting a $1200 mic (sensitive to handling noise) and a $300 mount and expensive windscreen and then mounting it on a camera makes no sense! Of course you could use it, but it's hardly an efficient or cost effective use of resources.

Camera microphones are a compromise at best and usually only useful for guide track, and possibly ambience because they fail to meet one of the key criteria for good sound which is proximity to the desired audio source, and the converse which is distance away from undesired sources such as noises from the camera and crew!

Now I've used a Sennheiser 416 (which is quite tolerant of handling noise) and Rycote softie with great success on a cheap shock mount on camera for single cameraperson ENG type interviews, and that's not a cheap mic, but that was because I had one already which is normally used on a boom by a sound recordist and/or boom op. If I was buying a mic purely for on camera, then something like a Rode NTG2, or NTG3 (a cheaper but very good 416 copy) would make more sense.

I'm sure the audio specialists on this forum will have even better camera mic suggestions!
 
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