Steve House |
March 28th, 2008 08:19 AM |
Quote:
Originally Posted by Cliff Etzel
(Post 849925)
Steve - I would prefer not to deal with a wireless lav. A production company is offering me some freelance work and that work requires mobility while interviewing business owners and I do not have the option (or budget) to bring a second person to run a boom mic. Hence my question. For me personally, I would prefer to stick with my wired lav as I know there are no issues using it, but the company hiring me states in the equipment list requirements: I have the shotgun mic, now I need to determine the wireless lav setup. This is my first serious gig for potential steady work as a freelance solo videographer. A couple of shoots and I could pay for the Sennheiser G2.
Dave - what is the sound quality you're getting with the bluetooth setup? Do you find it to be in the same league as traditional wireless lavs like the Sennheiser? I'm trying to find a short term solution until the income from these shoots pays for a better wireless lav setup.
I'll have to see what I can come up with. Maybe someone out there has some creative solutions as a workaround for the interim.
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How about renting a good wireless? For a paying gig, remember your career rests with your last job. Show up on a shoot for this client and have your mic fail or have it work but produce less-than-professional results and it could be your last shoot for that client. Rather than risk it, rent a Sennheiser or Lectro setup. For a hobbyist on a budget or a starving student, compromise and DIY solutions are a fact of life. But for a working pro (and those who aspire to become one), compromise solutions mean you're playing Russian roulette with your career. The client might require you to HAVE a wireless available on their shoots but that doesn't mean you have to personally OWN it. For professional level work, the Sennheiser Evolution G2 would be a typical of 'prosumer' system for wedding and event work and considered an entry level wireless for more demanding work. Film and broadcast production mainstream systems would usually be from either Lectrosonics or Zaxcom or a couple of other brands - but NOT Sansom or Azden. All can be rented at reasonable rates from professional film and video audio suppliers (systems like the G2 rent in the ballpark of $50 per day or $200 per week, Lectros half again above that). If you can't afford to purchase quite yet, it would be far better to rent a truly professional system for the next few gigs than to show up with a consumer level toy. And don't forget the professional image you project to your clients helps keep you working snd your gear package is part of that image. I'm reminded of an engraved card I saw years ago as the ad copy in the display window of a high-end men's wear store in San Francisco. It read: "To get where you want to be, it helps to look like you're already there."
I shudder when I look at the specs for the HW1 mic from Sony. Twelve specifications listed dealing with the size, weight, what the case is made of, the temperature you can store it at, the battery it takes, etc, and not one single word about its audio or electrical performance! It might work great but you'd never know that from looking at the info sheet.
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