Unfortunately as great as Sound Devices Powersave function is on the SL6 is to increase the time on it, I can rarely when it is in my bag change it without running out of time. It’s great that it has quick boot but if the time was able to be 20 seconds then my recorder and radios would be extra safe in long takes or power changing situations.
In regards to the Sound Devices 6 series mixers (633 / 664 / 688) what are the downsides of any inputs without physical trimpots? The trim pot is what you use to increase or reduce gain to your track. The tracks without dedicated trimpots on the 6 series recorders only accept line level and though gain can be changed, it is through a menu on the screen while recording, thus limiting you to changing one at a time.
This is a great question about identifying fake Sennheiser MKH 416 short shotgun microphones on Ebay. There where more resources available online but sadly they have been taken down. Essentially this breaks down into a the following issues:
This is a quick run down of what people suggested for cleaning cables and boom poles, use at your own risk 🙂
This answer will change drastically depending on your line of work but for me I can have the all in one unit solution a then if i need to expand i can put a mixer in front to interface with it as a recorder.
When it come to crewing and getting a film together the most expensive element of the film is usually the crew cost for labour followed by rates for different departments. Lots of people however with the price of mid tier cameras dropping all the time automatically think sound is doing the exactly the same thing. This is because they have worked with lower cameras and also where the sound was done on a zoom.
Time > Money > Quality > Time > Money….. Depending which outcome you want you need the other too. If you want to make a lot of money on a project then you need time and quality to be able to market it. If you want quality you need time and money. If one is missing then you have to compensate more with another.
This is a question about how I prepare for short films and indeed for any shoot. Main pointers are as follows:
This is a question about if there is only 1 boom operator on many productions and in what conditions are there more than 1.
This is a very broad question but I would use the rule of context. If the space is meant to be small and intimate then filming in an aircraft hanger is going to ruin that. I have never had much success taking out lots of reverb so its all about communicating to the client and going on a recce so you can try to get them to choose a new location.