How does the Sony ECM778 shotgun microphone rate compared to standard options?

20:41So it's not going to accept every different kind of format that can come down the pipe. And so if two switches are talking to one another, if one's certified and one is not, then you could have a formatting compatibility. But I haven't used any of the Milan-specific AVB switches, so I don't have any firsthand knowledge of that one. But what I would do if I were in your situation is take a look at what are the audio formats that you're trying to push

21:12and what are the different specific pieces of hardware that are in your pipeline and then understand how they're talking to one another. Next question. This one is coming in from Paul Valhus in Austin, Texas. Sony's new ECM778 shotgun microphone seems short but gets good reviews. How do you think it rates? Jeff? Well, first of all, I don't know if it's new. It seems to be over a year old in terms of when it was released.

21:42if I'm looking at the same thing. The price point is very similar to the tried and true Sennheiser MKH 416. You see our model demonstrating right now. And so it looks like, from comparing specs, the Sony's a little bit noisier, but it's shorter and lighter. I think that, if you're just comparing that to, say, the 416, shorter, lighter. it does have a if you need it a a low-end switch I see so I guess if you

22:19need that a low cut switch so that's neat I guess if you need that but otherwise it seems like the primary motivating factor would be if you just you know want that smaller lighter shorter to mount on the camera for example. Mickey? The shotguns from Sony tend to be seen, at least within the industry, as just top mics, NAT sound mics, natural sound mics, ambience mics that you stick on the top

22:53of the camera. They haven't really been known to be microphones that, like, say, a professional sound person would actually acquire and hire out. In this case, it looks like this microphone, I think it's about $900,000. So it's certainly on the more expensive end in terms of what people think of in terms of top mics for cameras. So for me, in terms of actually acquiring,

23:25sticking on a pole swinging it I would go with the tried and true you know Sennheiser Scheps Neumann's what you call this DPAs I would stick with those as opposed to going with Sony which is more known for something that just captures ambience and effects. Courtney? Yeah I have not listen to it. Like in that price range I'm with Mickey, I would stick with the tried and true

23:56Sennheiser. And looking at the frequency curve, it does have that little, oh, sorry, I'm covering it up there. It does have that little peak at the top there, which is most of the other shotguns, the short shotguns at least, have that little peak in there to help boost dialogue, especially when you put a big furry windscreen on it and use it outdoors because it's going to attenuate a lot

24:19of the high end. And it'll make it still sound a little fresh. The question is what technology does it use? And the MKH series, the 416 and the 60s, the ones they don't make anymore, have the RF condensers, which have usually a much quieter noise floor and they're much more immune to humidity problems where the ships are not. So just a small diaphragm condenser

24:44without the RF using the RF technology, modulating RF and then demodulating it, which is what the Sennheiser 416s do. I'm not sure how well it would perform in a humid situation like today in Los Angeles where it's 90% humidity. Next question. All right, this one's from Talak Lopez, Waterman, Santa Fe, New Mexico. Some classical music films and other music have a very wide dynamic range.