Just wanted to show you a quick guide to micing a child's helmet. This work such a treat! The pack could have been hidden in the helmet as well but it was a bit uncomfortable for her so with help form makeup and costume we hid it in her long hair and in the back of her hood.....
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:
These are what different recording formats on the Sound Devices 688 / 633 and 664.
The different modes are Wav poly / wav poly (ISO Only) / wav poly (LR Only) / wav poly (X1X2) / MP3 (LR) / MP3 (X1X2) / wav mono / Wav Mono (ISO only). All of these only work if you record enable the relevant tracks.
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.
Money is always a hot topic for freelancers. If you are low or having cash problems then I would focus on these 3 areas to figure out where you are weak. Then once you plug the gap you should stop seeing money just pass you buy and have more chances to give more value to your clients.
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.
I haven't had much real world experience with them but i think for the price I would air more on the side of investing the the Sennheiser G3 set. For the expense and amount of uses from them I don't think that much of them.
This wasn't a direct question but I know something that comes up a fair bit for people in all levels of the industry and so this is my approach if i am not given the time or resources to be able to achieve something that would improve the production, such as off lines or wild tracks.
Someone asked me when the best time to get wild tracks on location sound recording. Wild tracks is quite large meaning for wild lines or sound effects and even ambiences sometimes. So depends on your meaning, so lets break this down:
This was a question from one of the previous Q&As about how essential i think IFB/IEMS are. I took this to mean buy some to use in equipment on many jobs. For that reason I would say it wouldnt be something I would look to buy early on but they do come in handy for bigger jobs or commercials when clients and agency are wanting to listen in while watching video village.
Continuing the theme of getting more work as a freelancer I wanted to cover the concept of focusing on what you have instead of what you haven't. Might sound silly but in practice is very lucrative as you maximise value to the clients that keep hiring you and in turn become more appealing to other clients through referrals and word of mouth.
This is a common issue especially for newer freelancers, work drying up. The trick is to be able to predict these dry spells as best you can. Often your client base will be made up of a mix of people making regular content but some may make 2 projects a month, some 1 project every 2 years. Having a wide array of clients and project types should keep you working all year round.
Plane noise is so common in my line of work, but now there is a new interactive map (sadly just for the USA for now) to be able to see basic flight paths for all the major airports. This is very useful if you want to pass this on to production to give them a better estimate of the issue of plane noise.
I own a SuperCMIT and have done for over a year now and do think it is an excellent tool because you are still able to record an unprocessed channel and a processed channel with its noise reduction algorithm. This means that at the worst case if post production (often me doing it) I can use something like Izotope's RX5. If I am not editing then I can give them a clearer signal that the client love.
I answer this question by the economics of the content basically. Commercials pay more because the upside of the piece of content is much greater than the cost of it. If you do a worldwide commercial for a popular brand then they are going to make, realistically, a ridiculous multiple on the amount spent on the commercial, even if they go 2 days into overtime for everyone. Also the complexity of these projects is usually higher.