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snd.waves

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Everything posted by snd.waves

  1. I'm on a bus, heading to Melbourne Airport in Australia, to catch a plane to LA. I'm so damn excited. Anyhow, besides hanging in LA (and SF, Portland and beyond) ill be hiring a car, buying a board, and driving north from LA, in the hope of finding a few cheeky beach breaks. Any advice from a fellow surfing soundie would be much appreciated. PM me if any secret spots will be disclosed... I promise I won't tell anyone Also i noticed there are often JW member meet ups in the US. Don't suppose there are any planned for the month of September? I'd love to put some faces to names, talk shop and have a yarn. Cheers!!
  2. snd.waves

    iPad mount

    Hi all, Can someone recommend a good mounting system for the iPad? Maybe to work with a magic arm, or one already with its own arm built in? Thanks!!!!!
  3. So i'd love to follow you up Dan, but I feel proximity might cut me out of the equation. Im in Australia, quite willing to pay the shipping, but understand if its a bit of a stretch ... How about you sort out your US colleagues first, and see if you've got any left for an antipodean comrad PM me.
  4. I would love to get my hands on one of the newer style Countryman zip up pouches. A collegue recently purchased a couple of countryman mics and the pouch came with it. I don't need any more countryman mics, have two B6s of my own, but fear that this is the only way to acquire one of these great pouches. So, any chance someone has one they don't need or are happy to part with? Cheers
  5. Thanks Scott for your input. Will definitely look to use this workflow and get post on board. Shooting with these cameras so much now it's crazy! (I often work for the company that created Wilfred here in Australia. On a doco with then at the moment )
  6. Interesting. 'I have a 5D3 and it now records proper timecode. I haven't had time to do any testing yet but that's a big step forward over the MkII and should produce a change in the workflow.' This big step forward was what I was basing my question, but admittedly i assumed this meant an external feed of code was available, jumped the gun so to speak. I once asked about the workflow of dealing with audio code on this forum and got turned away immediately, seems the process in post is way too much hassle. Will stick to the old single channel wireless senny feed
  7. Hi all, just wondering if there is anyone out there feeding ext timecode to a Canon 5D? I have a lanc logger in my arsenal now, and have been considering this for some time. cheers
  8. Hi There!! just a quick question as to how i go about embedding images in my posts (or attaching say a pdf). Tried some time ago but remember it not being as straight forward as clicking the image link above. Am i missing something? cheers!!
  9. Hey all, Am on a travel job, shooting with a 5D, and have lost the hotshoe mount to a small HD monitor, and now have a bad situation with my Senny G2 taped to the tripod arm, and getting unplugged all the time, and generally pissing everyone off, and mostly me. Does anyone know of a hotshoe adaptor that will allow my G2 unit and the monitor to coexist on top of the camera? Cheers!
  10. JW SOUND Hey all, Am on a travel job, shooting with a 5D, and have lost the hotshoe mount to a small HD monitor, and now have a bad situation with my Senny G2 taped to the tripod arm, and getting unplugged all the time, and generally pissing everyone off, and mostly me. Does anyone know of a hotshoe adaptor that will allow my G2 unit and the monitor to coexist on top of the camera? Cheers!
  11. Correct, the R1a has a different door to the UM series, hence my original question. It seems one can turn the door 180 degrees and the standard batt elim will fit, although the rest of the door will stick out, an interesting work around anyway.
  12. Hi all, Curious if anyone drilling a hole and using a batt elim with an R1a? Can it be done? Cheers!!
  13. Hi, anyone wired up an iphone charger to power from a dist unit, via Hirose? Any advice? cheers
  14. After being recommended the red dots from a senior soundie back when I was a newbie, I went ahead and bought a few, and relied on them as my main lav mics. Admittedly i should have used them only when needed, (much) higher levels, but regardless i had all sorts of issues with the noise floor of the tx and the red dots. After switching to non-red dot mics I can have my tx gain right down, and rarely hear any noise floor at all. I have had some fairly intense screaming through the non-reds, and have not had an issue. Maybe i'll reach for the reds when there's some gun fire.
  15. say no more ... http://recordrevirginizer.com/
  16. Have only used Petrol, wouldn't change a thing. Heaps of padding and the straps are strong and smooth.
  17. Thank you Jeff for the link, really interesting reading!! Will certainly be trying to make one up for myself.
  18. Hi all, anyone know if there was a source for the lower profile female XLR connectors? Have noticed a few here and there, Loon certainly use them with their cables. I'd love to to wire some up if they're around. cheers http://www.loonaudio...=a815B4B2CC.jpg
  19. I was sure I read a post some time ago about L-series batteries, maybe it was on RAMPS, but couldn't find anything here through a search here. Anyway, I need to replace my Sony (7.2/4600) battery that I have sitting flush in my 788. It has always underwhelmed me, may have been a dud from the start. There seem to be a lot to choose from so I thought i'd see what others are using and happy with. Thanks!
  20. In my quest for the most compact bag possible, I purchased 2 x SMa transmitters to pair with my SRa receiver to use as links. I realised the more I used them, that the SMa's are really cumbersome when used as link transmitters. Two things really bothered me. The main one was that there is no confidence monitoring, in that I couldn't just look down easily and see the LED's bouncing away, as they are on the side of the unit, not on the top like the UM400's. (I did lose transmission once too!! The battery door came lose enough to kill the power, and I didn't know until I did my regular check, lucky for the backup in the 552!!) The other issue is that the units don't power up automatically when you switch on the bag, via the distribution system (mine only has one kill switch). This was annoying If i needed to power up quickly. All in all the SMa's are not suited as links tx's, but are awesome as talent mics!! (Also posted in the WANT TO BUY - WANT TO SELL section, as I want to trade my SMa's for UM400a's)
  21. I am posting in the hope for some insight into the logistics of shooting documentary in the humid jungle, as it looks like I will be doing just that in the near future, on a month long shoot. I’d appreciate any advice really, but am also after a few specific things. I’m interested in what people have to say about the best way to approach the situation, as there will be between 14 & 16 talent, based in the jungle, on an environmental mission. There will be a 5 day hike thrown in as well, so i’ll obviously need disposable batts for that. A recce is underway to ascertain the conditions, and to find a HQ for power and storage for the majority of the shoot. Having two sound recordists with 788‘s and miking everyone is already out of the question. Even having one 788 I feel may not work, as power will be a problem on the hike, and it will mean powering all the extra mics, and possibly having to much to handle with the weight, as there will be very long demanding days, 6 days a week. It looks like i’ll have to make do with a 552, a boom, and 4 radios. The leader of this group will stay miked the whole time, and I guess i’ll strategically use the other 3 mics on the other talent. Would I be best to mic the ones that talk the most, or the quietest ones? The main cam will be a Sony F3 with a roaming Z1. I’ll send an SRa link to the F3, and possibly a senny to the Z1. I own a CS3e and a MKH-50 by the way, but may look into getting a new rode or a 416. Any advice on this situation will be really appreciated! Thanks so much for reading
  22. Hi all, I have shot a bunch with the 5D, and I often am frustrated with the workflow. I will generally only send a mono feed via a senny G2, record double system, and then recommend using PluralEyes or similar. I don't want to be messing around with a big and clunky Beachtek, and neither does the cam operator. For many of the shoots I do, there isn't the best setup to be slating every shot either, especially with a trigger happy shooter. I just find I'm not enjoying this workflow, and I want a more solid double system setup, that I can relax with and focus on getting the best sound possible. Anyway, this leads me to questions about the Ambient Lanc Logger. Can anyone tell me what the workflow is when there is time code that's present on an audio channel of the 5D, as sent from the Lanc logger? Lets say with Final Cut and/or Premier. Is it a straight forward process, or are extra plug-ins / upgrades needed to do this? Anyone have experience with this? Thanks!!
  23. http://shouldiworkforfree.com/
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