Originally Posted by The Listener
We have Sennheiser ew100 g3... (snip) Actors having transmitters in their pockets, sitting on them, walking into another room, behind the wall, hill, etc. doesn't help eithet I guess...
That's one of the biggest disadvantages of the Evolution series. And you can't even quickly (!) replace a broken antenna.
How do you make a wireless boom without battery powered preamp with 48v phantom and transmitter attached to it? I tried attaching the Sennheiser transmitter to the mic directly but it couldn't power it... Also when using everything wireless there's too many batteries to be changed and recharged for a two man operation... I prefer cables... :-)
You need either an adapter cable that makes P48 out of the typical 5V powering a transmitter gives you (Audio Ltd 2020 / 2040 series), or you need a dedicated plug-on transmitter (Lectrosonics, Zaxcom, soon Audio Ltd EN2 series). There are also a few small battery-powered P48 supplies that can be mounted to the boom.
What you also have to establish when working completely wireless is a battery/charging strategy that is reliable. The easiest way is to have a bag full of charged batteries (at least for a whole shooting day) and enough charging bays. If all devices use the same kind of battery, it's easier.
Boom person and Mixer should always have a few charged batteries with them, of course. The more stressful a shoot is going to be, the more batteries each of you needs to take. And make sure no used battery gets mixed up in the "charged" bag.
Originally Posted by philper
Working with a 2 person sound crew or alone I'm always looking for ways to eliminate cable feeds to anything, esp any cable that has to hook up to my rig. The reduction in work gained by this approach makes a good day better and a bad day tolerable, it is that big a deal. Wireless is an expensive battle (that we are slowly losing to the tech companies etc) but the research and expense is worth it for me. For booms, the key to it all is having a great pre with a great limiter in front of the TX (there are several ways to go--I like the Sound Devices MM-1) and then getting your gain structure together.
For one-man banding, the most relieving thing is the wireless camera hop as they need to hold the boom themselves and therefore always have a short cable run from mic to bag.
For two-person crews, especially when cart based, it's the wireless boom. They can more easily throw a cable over to video village or camera.
However if both are wireless it's the least hassle.
Originally Posted by aracu
Taking into consideration how little time is normally allowed for sound, and how much time is spent over obsessing with picture, we're talking about relatively little extra time, since it simplifies the sound recording process.
Still that "little" time is too much for some producers and editors. Editors have begun to complain directly with production instead of trying to solve the issue with us first when they think there's something wrong with sound, the issue usually being some editor f*ck up. But once fingers have been pointed, things get more difficult than they need to be, especially when the finger-pointers don't know the word "sorry".
If sound recordists give in to concepts of sound generally shared by camera operators, without a struggle, the art of sound recording on film location declines.
I don't know what "concepts of sound" you mean - regarding to what device sound should be recorded. There are cam ops that have the "concept" that sound is made in post and we're just monkeying around to get a scratch track for ADR (action cam folks specialized in car stunts). Others think everything has to be recorded to camera (ENG cam folks). Others don't want any cable to the camera, and no little box like a hop RX or even a Lockit at all (some movie folks). And then there are those who just know the craft of filmmaking and how it all works together.
The "art" of recording movie sound on location is delivering a great mix track, and it doesn't really matter if that mix track is recorded to a 788T, a Deva, or an Alexa. Heck, lots of great sound have been done with an analog Nagra.
You need to know what you want to hear first, and then know your tools and how and when to use them. A big part of that is psychology.
Booming is a completely different "art" which has a lot in common with dancing.
Hiding lavs and making them sound good is more like a craft.
Originally Posted by The Listener
MKH-70 and 60 sound like Hollywood
That's because Hollywood uses them too. And other mics as well.
It's not the mic models, however, that make the sound good or bad. It's the surrounding conditions. And it's the effort put into post, and into matching lav sound to boom sound using EQ, room simulation, and so on.
Does Lectrosonics provide much better wireless connection than the mentioned Sennheiser which doesn't seem too reliable in dynamic situations like during car drives, behind obstacles (walls, pillars, mounds, etc.), at longer range, streets...)?
Any wireless system with enough TX power and a true diversity receiver will provide much better wireless connection than the G3. Especially if you can use a remote antenna pair (dipoles or sharkfins, typically) at the receiver end.
G3s have, iirc, only 10 mW - proper systems in Europe often have 50 mW as this is the highest power allowed, and in the US up to 250 mW are legal. However, in smaller rooms, you're sometimes better off with reduced TX power because of less reflexions.