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About TommygunZA

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  • Location
    Cape Town
  • Interested in Sound for Picture
  • About
    ENG type run and gun
  1. Mmmm, the RTFM retort. Good point.
  2. 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.
  3. 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...
  4. 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.
  5. 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.
  6. 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.
  7. Thanks. That all makes good sense to me.
  8. 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!
  9. 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?
  10. 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 :))
  11. I think the original poster may well be dead by now! You revived a 6yr old thread But, just for the hell of it, I like the Sonys, cheap (Stock mikes could be a lot better, replace when u can) Great range (better than the new URX ones) Great battery life, a good 8 hours or so on 2*AA. Pretty rugged all metal housing. I can scan for free channels. The other down though is some kind of compression or gating which can become noticeable, although seems more noticeable on the butt plug (utx-p1).
  12. Im glad this topic came up as I have been thinking about it recently. I pride myself on being a talent "fluffer"...I generally manage to get on with cast, keep them amused esp between takes and even get myself into the 'bra' zone reasonably quickly. Obviously being male, getting into the female chest zone is challenging (but the boob valley can be the sweet spot I find, free of rustle and rub) so I find being nice and friendly pays dividends later and talent will let you have free rein (almost) which will enable you do your job better.
  13. @Philip Perkins, I like the socks analogy. Another thing, not directly related is that the Videographers will spend ages setting up a scene, getting lights right, blocking light, reflecting, bouncing etc and sound are often expected to get sound/people mic'd up in seconds and people (producer/the money) generally get antsy if one takes more than a few moments. I do take some time placing mics under clothing (especially really tight or odd materials) and often after a min or two I realise it needs moving & need to stop the shoot to reseat/move the mic. People look at you like you are some chump, however, always better than getting shouted at by post. I like to use the old? saying, why does thunder come after lightning? Even God need to wait for sound.
  14. In run and gun/unscripted scenarios how do you guys balance getting good sound with getting a good take? I've been around on shoots where there is some epic emotional heart rending moment, the camera has been rolling a few minutes and the talent has forgotten its there, the tears are welling up and the sound guy will shout, "No, I just heard some dogs barking". Other times you go on a shoot and inevitably there is building work next door or a constantly circling helicopter. You need to get the job done though (often with time constraints) and will mic appropriately but you will inevitably have noise/issues. Do you demand a new location or shout, " I cant work like this". Camera ppl never worry as they are getting great visuals. I do find some of my colleagues are a bit neurotic and maybe we are more finicky than we need to be on occasion (Im not talking feature film or commercial) but general vidiot stuff . We worry about a lot and bit rates and high quality gear but do the public really give a toss if its been recorded at 16bit or 24 and at 44 or 192? Do they notice a Schoeps vs a Rode? once its been edited, bounced off a satellite in space and comes out of the 6" spkr on their tv or computer? I guess its a bit more important now with lossless digital delivery but there is certainly audio fidelity degradation along the path. Im not sloppy (I dont think, but reading some posts here makes me think maybe I am :)) So I guess my question is about expedience, getting a job done and where the general public start to care?
  15. Thanks Tom! I think I'm all sorted here. It's nice to have one's own opinions confirmed.