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Old September 24th, 2005, 04:05 PM   #1
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"INDIE FILM SOUND KIT" SHOPING LIST

Hi guy's

Was wondering if i could get some input for this shopping list, i am basing the kit's requirements on what could be considered the average sound situation and something almost all films have to deal with. (dialog interior, dialog exterior, wired and wireless), lowest price yet acepteble qualety(brodcast qualety).

many

thanx

Jon

AUDIO TECHNICA AT4073A (OUT DOOR MIC)$549
OKTAVA MK012A (OR MC012A) WITH HYPER CAP (INDOOR MIC) $165

SENNHEISER EW100ENGG2 COMBO: (WIRELESS KIT) $599
COUNTRYMAN B3 WITH ALL CAPS: (LAWALIER MIC) $206.50

MIXPRE (FIELD MIXER) $665
SONY 7506 (HEADPHONES) $99

KTek KE110cc for $250
K-TEK KSSM WITH SOFT BANDS: (SHOCK MOUNT) $109
RYCOTE 12CM MH SOFTIE: (WIND SCREEN)$110
RYCOTE 19/20MM BBG: (WINDSCREEN SMALL) $125
RYCOTE WINDJAMMER FOR BBG: $60


50' CANARE STARQUAD XLR (CABLES) $47

PORTABRACE AR-7 (BAG) $199

TOTAL $3233.50
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Old September 24th, 2005, 06:56 PM   #2
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Looks like some nice stuff, but I'd suggest adding a boom pole. Your excellent AT and Oktava mics won't sound much better than their cheaper cousins if they're more than a few feet from the source.
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Old September 24th, 2005, 07:45 PM   #3
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The KTek KE110cc is a boom. We just bought one and love it. I wish KTek made a 12 foot boom in the Avalon series. I wouldn't mind a little more length.
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Old September 24th, 2005, 10:04 PM   #4
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Quote:
Originally Posted by Marco Leavitt
The KTek KE110cc is a boom...
Oh, missed that. :>0
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Old September 24th, 2005, 10:36 PM   #5
 
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Can't say enough good about the KTek Avalon series, for the money, it's the best value running, IMO.
http://www.sundancemediagroup.com/articles/K-tek.htm has a review I did a few months back for a magazine.
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Old September 26th, 2005, 08:20 AM   #6
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I would probably add a second shockmount so you could keep each mic ready to go quickly.
I'd also add a Denecke or SoundDevices phantom power supply, and an input cable for your Sennheiser wireless, for those times when you might have to use your phantom powered mics wirelessly. Or you could upgrade to the 500 series wireless plug-on that supplies phantom power.
Add a second wireless kit, at least the body-pack and receiver, in the same frequency block so you can receive one of the transmitters at two locations if you need to. Or use the second kit to transmit to the camera when you can't be easily wired. You may want to add an inexpensive FM transmitter and a couple of Walkman receivers for wireless monitoring during these Stedicam shots too.
Add several 25-foot and a couple of 10-foot StarQuad cables too. Come up with a color coding system when you're ordering so you can track down Left, Right, Input, Output, Return, different lengths etc.
Some switchable inline attenuators, a passive direct box, and an XLR adapter (for use with an XL-1) would also be handy.
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Old September 26th, 2005, 02:22 PM   #7
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few things - for drama work , exterior, you need at leas 4 meter boom( 12 feet) , look for used 805 from vdb , that one good for 95% for inside and outside .
the mix pre is nice , but you will find very fast you need more then 2 inputs , used shure fp-33 or even AD 260 ( i sow one for 800 $ , 4 channels )might be better choice
at least 2 wireless , no need for battplugs
i sow 450$ for g-2 on the web , if you need ill send you the link .
countryman emw are betetr choice for hiding then b-3 , you need the shelved vertion
dont bother about wireless boom , but if you intend to do such shotes denicey box is good choice , 48 ph with 15 db attenuator ,you will need cable xlr to pl mini to hook it to the g-2 ( the tip on1/8* pl mini is the mike level)
the octava wouldn't work outside anyway so the cheap psc universal shock mount is good enough for interior work ( the small one)
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Old September 26th, 2005, 03:26 PM   #8
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Thank you to you all for yore replies

Specifically to you guy's Oleg Kaizerman Jay Massengill

"i sow 450$ for g-2 on the web" - this sounds interesting, could you send me the link? Thanx!

"denicey box is good choice" - what is this?

"Or you could upgrade to the 500 series wireless plug-on that supplies phantom power." - what is this?


In the mean time i am thinking i should not record sound to the dvx but to sound recorder as it gives me more mobility as im not attached to the camera. Any suggestions?

Is the g-2 ill suited for theatrical work, is there a quality difference between a wireless boom or a wireless lavaliere mic?

Please keep in mind that i am looking for the cheapest yet acceptable equipment for a dvx low budget feature film.

thank you

Jon
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Old September 26th, 2005, 03:31 PM   #9
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Record direct to camera. The audio on the DVX is supposed to be great. Any time advantage you save by not being tethered to the camera you'll just give up on slating and synching.
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Old September 26th, 2005, 03:49 PM   #10
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have to disagree with you on that one , this camera is not grate and not even close to grate ,one step above the 170 is not grate , very easy for overload , dont live well with high picks , the worst monitor build ever on 3500 camera range , dropouts on sound track ,

the best you can do is to find dissent recorder ( dat , cf ,hard disk) , if it would be tc even better ,then you will not have to slate every take ( freerun on bought devices ,slate every 2 hours or camera battery change , i finished 35 days shooting with2 cameras , thewere 5 takes that camera tc went mad ,5 takes from 80 hourse of rashes )
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Old November 8th, 2005, 12:46 AM   #11
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Hi Jay Massengill

Thank you for your reply, just a few questions

"You may want to add an inexpensive FM transmitter and a couple of Walkman receivers for wireless monitoring during these Stedicam shots too"

Any suggestions as to which once?


"Some switchable inline attenuators, a passive direct box"

What is this and what do i need it for?

best

Jon
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Old November 8th, 2005, 05:06 AM   #12
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Jon,

I just purchased a K-Tek KE-110CCR boompole and K-SM shock mount through DVinfo sponsor Zotz Digital and am very pleased with the quality.

If you look in the K-Tek Catalog you won't find that exact model. It is a brand new version -- just shipped last week -- of the Avalon pole with a side-mount male XLR connector on the tail end; the catalog hasn't been updated to include this pole yet.

I really like this side-mount XLR because it allows the operator to set the pole down on its end cap rather than on an end-mounted XLR cable. That's a personal preference but something to consider, especially if you might have inexperienced boom operators.

If you are in North America, contact Brian at Zotz Digital and he will take great care of you.
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