Situational Equipment

[Gorilla King]

After having listened to dozens of examples of the Schoeps CMIT I have to say that I've completely fallen in love with it's sound. It sound perfect for the kind of work I'm going to do which is narrative filmmaking. I was curious though, is there particular equipment that's better suited for particular kinds of work? Not particular kinds of environments, because I'm well aware of the answer there, but say Dramatic work like I do, as opposed to news, corporate or documentary style work.

 

[Jeremy Ordan]

Dude, more than 25% of your posts are starting new threads... You can post a question in an existing thread, you know?

I mean that is a lot of threads...

OK, now to your question of the hour... Yes, certain gear is designed for ENG, certain for studio, and certain for field.

Everything else is situational.

-Jeremy

 

[timapter]

gonna go with jeremy here, maybe chill a bit on the new threads man... there is a lot to be said for listening before talking. and this is coming from me who likes to talk.

ask questions in the right threads instead of always startin a new thread that doesnt go very far... it makes for loads of crummy threads instead of a few really good ones.

to answer the question, well, its answered.

 

[Gorilla King]

Okay, I'll cut back on starting the new threads, but how about telling what works well for what? I mean if you're shooting a movie and you're using ENG equipment because you mistook some of the other recomendations that doesn't help very much.

 

[timapter]

the term "ENG equipment" is pretty much rubbish. a good mic is a good mic, and works well for the environments it is designed for. "ENG" is usually synonymous with "lower quality" and hence "lower budget" (even though thats not technically right), so you typically see low budget filmmakers referring to their stuff as "ENG". Technically, every Sound Devices mixer is "ENG" design, but they get used on loads of films all the time.

So the term is loaded... its open to interpretation, and personally my opinion is still that you get what you pay for. If you want to do dramatic work, buy a better mic, or be a better and more inventive sound person with regards to placement, because dramatic typically REQUIRES high quality dialogue, its what an audience expects. "ENG" (which stands for Electronic News Gathering, by the way) is a stupid term if you ask me. "EFP" - electronic field production, is similarly vague - that could include the biggest hi-def shoot in the world.

so im not really sure what you're asking, but look at it this way: you get out of a microphone (or any piece of gear), what you A) Paid for it and B) How well you can use it.