Jump to content

edwar64896

Members
  • Posts

    17
  • Joined

  • Last visited

About edwar64896

  • Birthday 01/13/1968

Contact Methods

  • Website URL
    http://www.greensideproductions.com.au

Profile Information

  • Location
    Melbourne, Australia

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Many thanks for the suggestions. Some more context is warranted. Firstly I love the emuels - have two myself. What I also have is a bunch of older lavs that I will never again use with wireless TX and want to make use of them as car rig mics. I can wire and solder no problem but am really wondering how best to deal with 48 to 5v stepdown in an XLR wiring. Emuels are great but the aussie dollar has tanked so these are likely to be AU$200+ in the future and I reckon I can get this done much more affordably if I put my mind to it. Thx Mark.
  2. Has anyone got a wiring diagram that will allow me to terminate a Cos 11D or M142 directly to a 3-pin XLR allowing the mic to be powered from +48v phantom? Thanks, mark
  3. Am shooting on an XF305 with Zax links and an Atomos Samurai reorder. Getting totally boned by ground loops around the battery pinch. Basically, I cannot power the camera and the links from the battery pinch at the same time without hearing hideous noise in the audio. Ground loop is so bad that it makes the Atomos drop-out periodically. Am presently working on a solution that bypasses the battery pinch and simply powers the solution from one of the D-TAPS's on the V-Lock. Unfortunately, I can't work a camera power solution in at this point. Have tried a DCDC converter to bypass the pinch and power the camera, but this is too noisy. Will probably grab a rectifier as soon as I can and power the camera through that if possible. If anyone has had experience with loops like this and managed to solve, your input would be much appreciated. thanks Mark.
  4. OK understood. This is a good reference. I have just found an awesome post by Georgia Hilton that explains 30DF quite succinctly. http://www.gearslutz.com/board/post-production-forum/106320-geos-sound-post-corner.html I'll put some more real-world examples into the doc as per your suggestion. thanks again. m
  5. Mike, would you include 30DF in this grouping terminology?
  6. Many thanks to you guys for your comments though I feel at the outset I need to clarify a couple of things. I had hoped that this would be clear from my original post, but evidently not. 1. This is NOT an academic paper of any kind. 2. This is not a reference for anybody other than myself (At this stage). 3. The only place it's being "passed around" is within this forum and for no other reason than to solicit constructive comment from more experienced minds than my own in order that I can understand the subject a little better. I like to think that I have a fairly good grasp on timecode, however I work in an environment where we don't often get to play in the 23.98 or the 29.97 space very much. Marc, I understand what you are saying about NTSC being on the way out - so to speak, however the frame rates 23.98 and 29.97 are evidently still in wide usage in the broadcast industry and I believe I am right in saying that they have their origins in the design of the NTSC colour encoding format. I acknowledge that using this term is perhaps not the most ideal, however I'm not aware of another term that commonly defines these pull-down rates collectively. I also agree that sample rate conversion / timebase modification is an acceptable way to achieve the same goals. I appreciate you putting me on to Julian Daboll's article. I shall certainly make time to read this. Thanks again for your comments. m
  7. I've been trying to consolidate my understanding of how NTSC frame rates (23.98/29.97) apply in a workflow when faced with delivery or production in a non-NTSC format. I've come up with the following document which I have attached to this post which distills my understanding of the subject into a one-pager. I don't for one minute claim that this document should be considered a reference. I am merely asking that someone might be kind enough to give it a once over and make some constructive comment. My thinking on this subject may not contain the most commonly accepted terminology and semantics, but using the language that I have has helped me to understand (I hope) this subject. I would very much appreciate any constructive comment the more experienced engineers in this forum are able to provide. with best regards, Mark Edwards.
  8. I'm a location sound recordist based in Melbourne Australia. I have had feature, short, documentary and TV experience and am looking for opportunities to hook up with crews that are coming to Australia from overseas either as local crew or in a utility position to assist. Although I am based in Australia, I'm happy to travel. Spent part of last year working on documentary projects in Iraq, Middle East and Germany and am very prepared to get out and about. I am very open to learning and improving my location sound and sound design techniques, so opportunities to work with teams from overseas are greatly appreciated as they provide unique learning and personal improvement opportunities. Cheers, Mark Edwards Greenside Productions www.greensideproductions.com.au Melbourne, Australia.
  9. Hope there is someone that might be able to help with this... I'm doing sound on a multicam live event shoot this week. The record and edit frame rate is set to 23.976FPS (NDF) and thus I will be recording at 48kHz. There will be a sequence that will require playback and I am intending to send timecode from my audio system to each camera using wireless link. I will probably also try and get a smart slate on set so that there is at least some visual representation of the timecode. Unfortunately my audio playback system doesn't support 23.976ND fps - the lowest timecode rate it will go to is 24fps. This means I can't generate timecode at the right rate for playback. I'm anticipating this to be a problem. I can send timecode out from the playback system at most rates, just not 23.976ND I am proposing to lay 30fps timecode up against the audio and send this to a smart slate so at least it will be possible to synch both cameras up against the audio track that I have recorded, even if the end framerate they will be using is different. This is the first time I have come up against this little issue, so I would be grateful if forum members could possibly shed some light on this and suggest possible alternatives. cheers, Mark
  10. check the filter antenna cable is solid. I have one of these filter antennas and found that the termination at the filter antenna end of the cable was not robust and was causing huge loss of transmission signal. Worked around the issue by using an antenna directly on the transmitter. not ideal, but it worked around the problem until I could get another cable terminated. mark edwards www.greensideproductions.com.au
  11. Gentle sound folk. Am recording iso tracks on 788T at 25ND/48kHz. I have an ACL203 jammed to the 788T sitting on the side of the RED with Genlock and Timecode connected. ACL203 Settings are HD1080P, 25ND, 48kHz - switch settings 3,2,2 RED is set to jamsynch from the ACL203 and to use external genlock (from the ACL203) Initially, on boot, everything is fine. Chainlink symbol for TC Jam and Padlock symbol for genlock. All Good. Then, without warning, after a few hours of operation, the RED loses Genlock. A reboot of the RED solves this problem, but then it appears again. After a while, rebooting the RED is moot and the genlock simply does not lock. New cables go to the ACL203 along with new batteries. All in vain. Suspect that tomorrow, after a cool-down and a good nights sleep, the RED will work fine for a few hours. Of course the camera department are looking at the sound department and wondering... My questions to you, gentle sound folk, are... 1. are there any tips/tricks to stabilise the genlock on the RED? 2. Am I doing anything wrong here? 3. what is the likely effect of losing genlock or having an intermittent genlock on the RED? This is the first time I have seen this happen. Not sure if it is an ACL203 problem or a RED problem, but am assuming the latter. Mark Greenside Productions www.greensideproductions.com.au
×
×
  • Create New...