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Ah cool thx Scott. I haven’t tried Auto Mix on the F6 though online reports seem to indicate it works ok. If there’s a way to save an auto mixed output along with the originals, that would address your baked-in concern.

Is “but the Sound Devices "automix" doesn't sound very natural compared to the Dugan” a typo or are you using Dugan hardware into Sound Devices hardware, and not using the SD builtin Auto Mix?

Good point cpreston- the Zoom F6 supports Auto Mix (Menu/Input/Auto Mix). I've been using the F4 and now the F6 in the studio with the Schoeps CMC641 and Audix SCX1-HC typically 6 or so inches apart, and so far haven't had any phase issues (typically as stereo; listen in mono to check for phase...

Yeah I think double auto-ducking would work nicely. A noise gate and/or expander could also work as mentioned earlier. The question for each method is effort and transition sound as the effect goes on and off. Given the large jump in levels (high SNR), it would seem double auto-ducking would...

Close together: reply to comment above, not OP. Where flipping is 180 degrees out of phase, for less than that: https://www.waves.com/plugins/inphase OP is using Premiere; auto-ducking is good match for the desired output.

Phase- try putting two mics very close together, e.g. a figure 8 and a cardioid, perpendicular. Then process in post as mid-side. Try flipping the phase on either mic and see what happens. OP mentioned matched pair- close together into same recorder = possible phase issues = flip and/or shift...

I'd try in order: 1. Flip/invert phase of one channel: use Audio Effect Invert. 2. Try to perfectly align the two audio tracks: select them both and right-click Synchronize (audio). 3. Shift one track a few samples until issue resolved (right click on timeline cursor, select Show Audio Time...

Flip the phase on one of them. https://www.waves.com/tips-for-fixing-phase-problems-in-your-mix

Ah, now I understand why James liked that car thread in the Cafe lol. Gotta go edit some Camaro and Firebird video when I'd rather be editing Ferrari video ;) (Canon, Sony, ARRI) (Hopefully the EOS R5 will be a C8 Corvette)

FX9 with post diffusion: now it's kinda soft, lower contrast, yet still holds a lot of detail in the skin (including color variation at larger scales), which appears a bit lost on the C500 II shot (this is not a totally fair example: we really need to compare files coming out of the cameras)...

Note the WB is off on the FX9 shot (too much green): FX9 +20 (magenta) in Photoshop ACR (only change): To my eye the FX9 looks more detailed and color is pretty excellent compared to prior Sony offerings. The C500 II has lower contrast and a pastel look (lower satuation)- the FX9 could be...

Was pretty impressive to see the ultra high tech 600HP Mazda 2.0L turbo leading the start of the Rolex 24. In the end, the ancient overhead valve naturally aspirated Chevy V8 at 580HP wins: https://www.cadillac.com/world-of-cadillac/racing/imsa-prototype-racing Also cool to see so many ex F1...

After setting up nice lighting and putting a camera and lens together, I shot my friend Jacqui in a new studio set we put together. We shot a few tests and played them back, then she took out her iPhone and said I have this app (...

Yeah the big spots on right could be replication of the combined two main sources though zoomed in they look round (low res., hard to tell). The vase shows two small sources left, what looks like two overlapped rectangular sources center, and a small source right. Below center could be a...

If you zoom in on the green vase it looks like 7 light sources. 5 small sources and 2 big sources close together. Looking to the right it looks like perhaps two more medium sources reflecting off green and black objects.

Helpful tests, James! C700 FF does ok up to +5, expect similar from C500 II with similar set up/test. Would be helpful to see C500 II and FX9 in same settings especially at +5, +6. Expect similar relative performance as here (FX9 > C500 II for IQ, same as Venice > C700 FF); won’t know for sure...

https://www.canonrumors.com/canon-eos-r5-specifications/ Rumors are heating up- maybe the Camera Cabal decided to release the A7S III through Canon as the EOS RS ;) 8K raw seems unlikely (without some kind of advanced compression, e.g. wavelet or better, though Sony et al do need to sell 8K...

Here's a review of the Godox:

https://youtu.be/ogv2geoQsWI ARRI at +5 with ProRes. Raw on both cameras should do even better. Note in the SOOC shot color hasn’t ghosted. Tapering saturation near white clip is different than ghosting skin well below that. Shooting raw should help (giant files though) or perhaps different...

On the C300 II I didn't see any major stop advantage for skintones on CLog2 vs. CLog3. CLog2 was most useful in that it closely matches ARRI's LogC, and thus when using cinema color and production matrix it worked OK with Alexa LUTs (I ultimately stopped using this setup as I got better results...