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Matt James Smith ?

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Everything posted by Matt James Smith ?

  1. Here's the desk setup: I'm trialing the numeric keypad with macros before I splurge on a Stream Deck.
  2. In case anyone is interested, I've just set up a £40 Korg NanoKontrol2 for colour correction in FCPX, using the free Command Post app (which is a new discovery for me and fantastic if you're using FCP). I followed the vid above to set it up initially but spent yesterday afternoon on my own configuration using the Color Wheels (just brightness & saturation) rather than the board (which I've mapped for my own reference - see image below). So far I'm very happy - it's a pretty solid MIDI controller and Command Post seems pretty stable. It's only useful for correction - I won't be doing much grading with it - and couple of other things (clip volume, keyframes, timeline zoom) but to have physical controls and not have to fiddle with the mouse and keystrokes so much is great.
  3. Folks I'm looking at getting a Stream Deck to use with FCPX - my setup is currently a standard keyboard and Kensington trackball. Do any of you have advice on whether to go with the standard size or the XL? I like the idea of having the smaller model to the left of my keyboard (flat) and being able to use it by touch without always looking at the keys. If I went for the XL I think it would sit behind my keyboard on the stand, which may be fine if having more keys is really useful. I'm just not convinced I need that many keys. All input appreciated!
  4. Just grabbed a used SVMX on eBay. It’s in pretty rough shape cosmetically but I got a decent price (£290) and doubt I’ll ever be looking to sell it on so as long as it works perfectly I’m happy. Thanks for all the advice everyone!
  5. Exactly the same - I have the mke 600 as my main mic and really don’t need to add another big mic to the rig. The AT8022 looks really nice - if I knew I just wanted a stereo mic to swap out with the 600 sometimes I’d go for it.
  6. This guy has several videos. If you skip towards the end of this video to the shots of the lake, you get a good feel for the wide soundstage of the mic.
  7. I'm looking very closely at the AT8022 as an alternative to the Rode SVMX. I really like its wider soundstage (120 degrees vs 90 on the Rode). It doesn't quite match the SVMX in terms of SNR, DR or SPL, but I've never been one to care that much about spec sheets. What I don't like about the AT: No custom/obvious windfurrydeadkat thing available, though I'm sure with enough research Rycote will have something (but adding to the cost). If I want to use it alongside my shotgun, I'll need to make room for a second suspension thingy on the rig - and the whole setup might start getting a bit overwhelmed with mics. I like that the SVMX is compact and self-contained with a built-in hotshoe mount. But I do really like that wider soundstage of the AT - what I've heard is very 'enveloping', which is what I'm after.
  8. Have to admit I wrote off the Canon DM-E1 but will take a proper look. Will also look at the AT Pro24, which I probably just wrote off based on price. I have the Rode Micro but its no good as like most 'proper' cinema cameras the C200 annoyingly doesn't offer plug-in power via 3.5mm. The Canon and AT do use batteries though I think.
  9. Yeah I looked at that one. I was hoping Deity might do their own version of a Rode SVM (seeing as Rode have nicked a fair share of Deity's designs!) but the Duo seems to be intended as a front/back mic and I assume they're not a 'matched' pair that can be mounted at 90 degrees to simulate a figure-8/binaural type effect. On that note though I have vaguely considered making a binaural rig thing with a stereo pair of omni's going to a 3.5mm, atop the camera. I think handling and camera noise would be an issue though unless I came up with a really elaborate rig.
  10. BTW I have to say I really haven't liked what I've heard from the MKE440 at all. I may be biased because I had an MKE 400 (the mono version) a long time ago - it was cute but it was useless. My main audio kit is all Sennheiser though - if they did a mid-range stereo option I'd jump on it, but I've concluded the 440 is very much an expensive low-end mic. May take a second look just to be sure though ...
  11. The BP4029 looks really very nice (a cheaper alternative to the Sunken CMS-50 mentioned above) and if I was going all-in on sound-only field recording I'd definitely be looking closer. But for now it's a bit pricier than I'd like and it doesn't have a direct 3.5mm option. I'm starting to think my requirements limit me to to the Rode's - SVM Pro, X and NT4. BTW spl measurements are out of the question 😉 - I'm turning up to places I don't know and shooting on the spot. It's mostly external suburban/rural without heavy machinery or nearby vehicles etc so mid-range levels I assume.
  12. Yes this is what's making me consider the lower end (& cheaper) Rode Stereo vm Pro. Like you say once it's in the mix and just ambient with visuals, quality may not be a huge issue. I do however want to shoot some extended ambient-sound only scenes, with fairly static/ uneventful visuals, that will be shown in a cinema space. The footage will be 4K RAW derived so I'd like the audio quality to not be obviously incongruent. But ultimate quality is definitely not vital. I'm just trying to find the sweet spot and I'm not sure about the RSVm Pro - the X sounds significantly bettering online tests to me. I get what you're saying about EQ etc but there's no question the X is a big step uo n quality from what I've heard.
  13. Yeah I'm currently trying to figure out which recorder has the best XY mics built in, and how simple it'd be to mount it with a line-in to the camera, but I'm loathe to complicate my kit any further seeing as the C200 has 4 tracks and good preamps.
  14. Yes I've done a bit more research and the two AT's you mention seem to be the best option in the same price range as the Rode SVMX and NT4. I like the look of them but like you say there's not much info out there on their quality. Also need to make sure there's a decent furry option. The big issue though is as far as I can see they're phantom power/ XLR only, which means I couldn't use them straight to camera if I also wanted to record dialogue etc.
  15. Wow that's an expensive mic! But it's good to know that form factor can produce top notch results. I'll take a closer look at cheaper alternatives with that short-shotgun style (Audio Technica have at least one) as that would suit me better than the weird shape of the NT4. Thanks.
  16. I'm really surprised how little choice and info there is out there in terms of stereo mics suitable for video cameras. I like the look & sound of the Rode Stereo Videomic X, but it's expensive and hard to get hold of (new and used) and I'm struggling to find alternatives. What I need: 3.5mm option so I can record stereo to channels 3 & 4 on my C200 (while recording shotgun and lav to ch1 & ch2 via XLR). Single unit - a matched pair (e.g. 2 x NT5) would be too much setup and doesn't allow 3.5mm option. Decent windjammer/deadcat available Good shockmount/suspension available Good sound quality Ideally the option to use XLR cables as well as 3.5mm so I can use phantom power and long wires when I need to (e.g. gigs) Rode's SVMX and NT4 are the only mics I've found that obviously fulfil all the above. I'm not mad about the form factor of the NT4 or its windshield and shockmount options. I'm sure Audio Technica and other brands make alternatives to the NT4 but I can't find much helpful info out there - most stereo mic info is geared towards either indoor music recording or sound-only field recording.. The simplest option would be to go with a Rode Stereo VideoMic Pro and live with the average audio quality, but samples I've heard from it aren't very exciting (open to being convinced otherwise). The other option is to look at which sound recorders (Zoom, Tascam, etc) have good quality XY mics and 3.5mm line-out (I need it to be able to record direct to the camera) so any advice there appreciated (I'm still rocking a Roland R26 but it doesn't have line-out and the built in XY is pretty average sounding IIRC). Thanks for any help or advice!
  17. Poll: Which manufacturer generally delivers the most pleasing images - focusing on sensor 'mojo', colour science, etc ... disregarding lens mount, usability, etc. Choose as many as you want. If I haven't listed a manufacturer you'd like to see, mention it in the comments. Might do a poll on specific models if this one is popular. Suggestions of favourite models welcomed (in the comments).
  18. If I had to guess I'd say this has a fixed DSLR style grip, but it's not clear. Would be great if it was a rotating grip. Much more appealing to me if so. Also, is this the first stills-form-factor camera with built-in ND's? Significant if so. Finally, I'd say that the speed booster rumour makes more sense now too. Keeps all that Canon FF EF glass relevant?
  19. No EVF by the look of it. I wonder if they'll go with the weird XC10 style clip-on loupe? It actually works OK and isn't actually any different to the FS7 approach to an EVF. Alternatively will there be a custom EVF that mounts to the hot shoe? Or will Zacuto become synonymous with Canon video once again? It's clearly a professional camera, so needs some kind of EVF solution. With no IBIS and the small size, it needs it. Canon is not Blackmagic - they make tools that are reliable for run and gun. Clearly they're segmenting the RF Cinema line so it runs alongside the EF Cinema line as a tool for a different kind of user. Too many EF Cine lenses and high end EF Cine cameras to ditch cinema EF in the near future. Perhaps their long term roadmap is to allow the RF Cinema and stills lines meet and combine eventually. This would make sense: 8K as a headline feature in the R stills flagship, stills form factor as the headline feature in the RF cine lineup. As 8K becomes more standard for video acquisition, and competitors inevitably continue to merge stills/cine cameras (S1H etc), Canon will one day have to join them. One of these C70's with 8K and an EVF has no reason not to be a stellar stills camera too. Just a theory but it makes sense.
  20. Active cooling removes weather sealing. It’s a photo camera first and weather sealing is top priority for pros. Canon also make cinema cameras if a fan is what’s needed. S1H is a video camera first - hence fans. No perfect hybrid exists.
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