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Marty Atias

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About Marty Atias

  • Birthday 06/10/1955

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    http://ATSComms.com

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    Maryland
  1. It sounds like you are setting the bar impossibly high by hoping this is the one mic that works well in every situation. Of course that mic does not exist. The CMT5U is a great shotgun mic, but generally speaking, for most indoor environments, a cardioid, super or hyper, or (at most) a very short shotgun will pick up less room acoustics than medium to long shotgun mics. I also like the Sanken shotguns. Marty
  2. Here's some advice from someone who has been doing soung professionally for a long, long time. The Number 1, most important, crucial, thing to remember, from before you shoot your first frame is: In order to get, and keep your audience intersted in your piece, YOU MUST HAVE good, and appropriate audio! To demostrate this point, I'll ask just two questions: When was the last time you listened to a program without pictures? Answer: Radio. Dramatic radio, talk radio, music radio, all can keep an audience without pictures. When was the last time you watched a program without sound? Answer: Probably never. Even the most dramatic, gripping film will have a hard time keeping an audience interested without good, appropriate audio. Number 2 - Talent and skill trump technology. Having the tools means little. New tools, old tools, doesn't matter, if they are working properly, and are appropirate for the job, will get good audio if used by someone who knows how. For as much time as you spend learning about cisuals, (ie: cameras, framing, lighting, etc.), you should spend an equal amount of time learning about audio. Number 3 - Different tools for different jobs. Just as you select a lens and focal length for each shot, so should the right type of microphone be selected. Omni, cardioid, supercardioid, hypercarioid, shotgun, boundary layer, PZM, are all mono type mics. If you want to give the viewer some sense of presence in the visual environment, you'll want to mic in stereo: XY & MS are common protable stereo micing techniques, then there are 5.1 and 7.1 surround techniques. #3 - Mixer - To use or not to use? Relying on the preamp in camcorders is a sure way to maximize the noise in your sound track. Plus, you are giving up control of your audio levels. Even if you switch off the auto level feature, cannot be expected to manually adjust audio levels on the camera when necessary. #4 - Record to camera or seperate recorder? Either can work, depending on the projects requirements. If purchasing a new recorder, I would recommend, as a minimum, the M-Audio Microtrack 24/96, which we sell many of. (The Walkman Pro has not been made for several years, and will not give an adequate recording quality). Hope this helps, Marty Atias ATS Communications
  3. Isn't this thread names "production sound"? Perhaps among all the cinematoghraphers, very few are familiar enough with audio to help. I am a sound guy, and I'd be happy to try to offer some help. However, you didn't specify which recorder you are inquiring about or even what tape format you are interested in. You wouldn't use analog tape for anything more than transcription, and Sony stopped making the last prosumer cassette machine they had. Analog tape transports are very expensive to make and the quality of cassettes is so poor compared to very cheap digital recorders. I don't think Sony makes a professional digital field recorder though.
  4. Nagra's were the ONLY film sound field recorder for so many years. However, these days, you may find it increasingly difficult to find good tape stock. Keep in mind that unlike digital recorders, an analog tape recorder can only be calibrated for one tape formula. So you cannot switch depending on availabilty without having your machine recalibrated. Like any analog tape machine, Nagra's are also subject to tape path problems in high humidity environ's as well as high G's if you do moving shots. You'll also have to digitize in real time, and deal with pull up / down, take notes, etc. in the field. DAT, on the other hand is pretty well a dead meduim. Don't waste your dough. There amy be one company left making a field DAT recorder. However, if you find a used Fostex PD-4 or an HHB, they were very good and reliable 24 bit machines with time code options. They were used for many major motion pictures. Currently, most pro's are using hard disk recorders. Currently, they are quite expensive, but there will be some relatively low cost options very soon. Zaxcom will be refurbishing their immensely popular DEVA II recorder /mixer from trade-ins. Sound Devices will be releasing their long awaited 722 & 744 recorders at a record breaking price of $1,000.00 per channel (2 & 4 channel). A bit less expensive (and available now) is the Fostex FR-2 recorder which uses CF cards and PCMCIA hard disk cards at around $1300.00. It is a high quiality 24 bit recorder with a time code board available soon. A rung lower on the ladder is the Marants PMD670 CF recorder for around $700.00 Digital recorders will store production info, tape info, etc. right on the tape as data and will export the files directly to your NLS editor.
  5. The PMD-670 is a nice machine, and works well. Dependng on your needs, the Fostex FR-2 has much better specs and will have a time code board available as a retrofitable upgrade soon. It records in wave file format rather than MP3, so the resolution is higher. It can take CF cards as well as the new PCMCIA hard disk cards for higher recording times. However, it is nearly twice the price at $1300.00
  6. As a broadcast sound guy for 30 years, as well as a equipment dealer, I would suggest that if you are looking for mics in that price range, keep away from the entry level ME66 / 80 mics and graduate to what the pro's use. While $1000.00 will buy a very good mic (You didn't say, but I assume you are looking for a shotgun mic?), $300.00 more will get you a Sanken CS-3e, which is one of the best. However, the Sanken CS-1, which is a shorter mic, will exceed any other mic near it's price range (under $800.00). While no one will ever argue against a Schoeps, it is out of your price range, unless you find a used one. However, they do not make a shotgun mic or capsule, and they require care and feeding otherwise they get finicky in humid weather and high RF environments.
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