by Glen Trew Since it’s almost Halloween, here’s a scary thought for film/video sound professionals: On a 200-person film or video crew, only three may be in the sound department. Yet, if sound has a problem, all 200 hundred have to wait and all 200 hundred are annoyed, and some […]
New microphones for film and video production come around as slowly as wrap on an 12-page day, but just last year it happened again.
The Sennheiser name gives the MKE-600 plenty of street-cred, and from my listening evaluation and field test, I believe this German-made mic delivers on the brand’s legacy, particularly for the intended professional market often referred to as “ENG” (Electronic News Gathering) or “Journalism”. While the MKE-600 is priced for the growing market of small hand-held video production, the audio performance of this electret condenser far exceeds what the low price suggests, and will likely find a place in the mic kits of many accomplished sound mixers.
As mentioned a couple of months ago in an August 21 article posted in Trew Audio Flow (see the article here), we discovered a problem having to do with noise being induced into the Canon 5D-MkII camera when – and only when – attached to the DR-60D. The amount of testing that could be done was limited by Tascam not being able to deliver more DR-60Ds at the time (they were between production runs). However, other customers responded to the report, saying they had the same problem with their DR-60D and 5D-MkII setup. So it may well be a consistent problem with earlier DR-60D recorders.
TASCAM DR-60D may eventually turn out to be a good product for double system DLSR production, but there are some concerns.
A Trew Audio customer brought his Tascam DR-60D to our Los Angeles store hoping we could figure out why his recordings had a serious noise issues. He also brought in the two Canon 5D Mark II cameras he was using with the DR-60D.
Summertime, and the living is easy… but as always, that’s about to change. For many in the world of Television production sound, late spring/early summer is a much needed time of rest (called “hiatus,” in the industry, usually a couple of months) that comes between the wrap of the prior season and the beginning of the next. The 16-hour days, week after week, take their toll on us, but it is also brutal on our equipment. In addition, trends change, equipment advances, and we should always be refining the way we work. But whether you work on television series, feature films, reality TV, commercials, news, or whatever, my advice is the same: after some much needed rest, when cabin fever sets in, remember that continued success depends on being prepared. Here are some ideas to help you get ready for the next run.
As purists often do, we who have stubbornly insisted on a hardwired boom must finally admit defeat: What started as a novel party trick called “Wireless Boom” is now the rule. On production stages where a hand-held boom is used, the boom mic is much more likely to be wireless […]
A new antenna called the “Diversity Fin” (polarization diversity), made by the company RF Venue, has been getting enough attention to warrant a comparison with two other popular antenna designs, the dipole and the “Shark Fin” (log periodic).
RE-PRINTED WITH PERMISSION from Sound & Picture.
Manufacturers await my reviews of their products with a bit of anxiety because they know I’m going to filter out the sales talk and tell it like it is for the benefit of the end-users. That’s probably why I’ve been asked so many times what I think about the new Zaxcom Nomad mixer/recorder.
Glenn Sanders visited Trew Audio’s Nashville store in December to go through every detail of Zaxcom’s NOMAD compact mixer/recorder. It’s here, it’s ready, it’s being used in production. Video 1 of 2: Video 2 of 2: