TommygunZA

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About TommygunZA

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  • Location
    Cape Town
  • Interested in Sound for Picture
    Yes
  • About
    ENG type run and gun
  1. This may be stating the obvious but on the fs7 there is a really small switch, TC in and TC out just bellow the bnc comnnector.
  2. Just to revive this thread as I've now had some minimal exposure to the camera. I'm doing a multi cam shoot. You need the backplate (XDCA) to jam to a bnc connector. The backplate enables V-lock batteries which are not useable without it. After jamming you can remove the backplate and it will (kinda)keep timecode. We Jam 3 cams from one, then us soundies jam to the master camera with our mixers. Im using the 633 and use the "free run jam once" option (not sure if that's good), the others are using the zoom f8 mixers. After about 3hrs Im about 1sec ahead of the master cam and the Zooms are about 1 sec behind... We are all on 25fps. Im also sending a scratch track. I suggest frequent jamming and as someone said, its good to connect with the camera crew on occasion. As an aside the cams take the sony shoe which you can mount Sony receivers on (should you want) and the signal and power pass through the shoe to the receiver. No cables or batteries.
  3. I was just stumbling around the net and ran into this Ted talk which I'd not seen before. Pretty basic for most people here but nicely encapsulated and makes us sound recordists think a little about the job of sound designers.
  4. Thanks Rich. Glad I was interpreting it correctly. I guess I'm mainly going to be sending scratch tracks but I do feel a bit sad about the loss of my stereo tape out on one connector.
  5. Possible stupid question here but going thru the manual of the Sound devices 633 and 302 and fiddling is not illuminating me. On my old SD302 there was a tape out, a 2 channel output on a single TA3 connector. This I had terminate in 2*1/4 inch jacks which went to my Zoom h4 recorder. Stuff panned left on the 302 went...left on the zoom, centered went to both channels and right went to right. On my SD 633 When I assign master mix L+R to my X1 TA3 output and use the same connector and plug to my Zoom (just using it for testing at the mo) my panning on the mixer has no effect on which channel the signal goes to. Am I doing something wrong or is X1 a mono summed output. To get a true stereo out am I going to have to use both X1 (left) and X2 (right)?
  6. Mmmm, the RTFM retort. Good point.
  7. I have just taken delivery of my SD 633, upgrading from my 302 (which Ill keep to add 2 more mic inputs to the 633) Anyway... I'm going through the settings on my mixer and getting things configured to the way I think I will be using it mostly. Is there a place here for a thread about users setups of their pieces of equipment and their personal configuration. Maybe headphone assigns and why, outputs, metadata setup etc. I'm sure there are many people here who have nifty tricks and reasons for particular configs and setups that I would never think about or have not come across. It would be good for me to read what people think are essential to their setup and workflow. Maybe have a thread for each unique piece of equipment and the users setups and reasons under that? This would also be useful for people hiring gear they were not that familiar with or when they buy new gear. I could just search the thread for Sound devices 633 and find 5 different peoples setups, maybe they are all the same, or maybe all different or there is overlap.
  8. Sry, Im new here...iso(s) meaning isolated tracks rather than mixed? As an aside it would be quite nice to have a glossary on the forum that people could add to. There are a few acronyms that people bandy around here that are somewhat recondite and doing a search for them sometimes yields 200 results which all look wrong. Maybe Ill just ask when confused and free myself from the shame of looking like a twit. I might have some suggestions but the guy controlling the budget may not like them...
  9. Does the 442 have an option like the 302 (i think) of using the monitor/headphone return as a 2 track input also using a stereo mini jack? Aside from that it looks challenging specially if you are mixing live and booming Not sure if this would work as Ive not used the gear but (what kind of wireless mics?) 4 mics into the 422, the output from the 442 via XLR to TAF connectors into the 744 and the other 2 wireless mics (maybe on those with most dialogue) into the remaining XLR mic sockets on the 744. But you still mixing a lot (4 to 2) at least. |I am a cheapskate bodge it dude although on this even I might walk away. Good luck! BTW come back and let us know how it went, we all like a good laugh here.
  10. I would like a software update for the SD 633 to be able to overdub. Id love to be able to use it like the old portastudio cassette decks where you recorded tracks, overdubbed and bounced down. Im sure its goto be possible and might even get more over the units sold...not that Sound deveices really need any help. This is my wish for my forgotten musical career.
  11. Firstly, Thanks Constantin for unhijacking my thread from tentacle. Although all this info is an education for me. Date time stamp on the camera/audio recorder seems a good way to go but offset on 4+ cameras has got to be a pain? To Constantin, I believe Pluraleyes can handle audio drop out so its not a train smash. I think the easy way to go for multi (cheap) cam shoot would be send one scratch track from the mixer to 4+ receivers set to the same channel which may be what Mr Perkins is suggesting? It seems from posts that pluraleyes is a "good thing" and paired with decent audio (ie scratch track) even with drop outs it will match well....all I need now are 4 receivers that pick up my one transmitter. Now you can return to the pros and cons of tentacle.
  12. Thanks. That all makes good sense to me.
  13. Im clearly a luddite and cheapskate. Ive done a few noisy festivals and I've just boomed with an RE50/good dynamic hand mic tied in. Sure you've got to get close but its out of sight and you can have Motorhead playing in the background and still get good signal. Make sure you are monitoring with your ears!
  14. I couldnt see a specific thread about Pluraleyes but I could see a lot of very sceptical posts about the softwares ability from around 2111/2012. I have worked with a lot of people (editors) who absolutely swear by it and when I do 5D work I can just give them the audio files and nothing else (it helps if times of day matches a bit) and I've not had wines or gripes. I did do one job here in ZA for an American company who insisted I got a big ass SD mixer (as well as top of the range everything which was hired at great expense) and we shot on some bigger Cannon cameras and the time code kept drifting and there is always the framerate issue. Now enough time has gone by for people to know. if you have a scratch track on the camera are you soundies and editors happy with Pluraleyes results or are there still sceptics out there and if so why?
  15. This is so true for me. I always beg the camera to go get shots of the screaming kids, jackhammers, trains, dogs, running water and the rest of it. The pic just needs to reference the extraneous for the viewer to understand and for it to be a bit more acceptable. You are right about the fun too, challenging is good (to a point :))