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BAB414

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Posts posted by BAB414

  1. I just came into a couple invisity flex receivers in the 195-202 band. What transmitters are available that can operate in this band that will provide the best range and performance?

     

    I'm aware of the T4 at 50mw. There's also an older phonak transmitter I know little about, and then there's the older lectro "M" series. Any others I should be aware of? Or any to avoid?

     

    I'm curious what will give me the best overall performance and what antennas people recommend that aren't too huge/impractical.

  2. There are a few in Marriage Story. The one that sticks out is the room full of actors right before rehearsal for their play. Wally Shawn is talking about some sexual escapades, one of many conversations happening at the same time. This kind of chaos is sort of the point of the scene if I remember right.

     

    Another sequence is toward the end where the whole cast is out at a restauarant after a show. For that one I remember we had something like 17 (or more?) lavs and two mixers.

  3. The Roger's are very disappointing in their range but they work if you are super careful with the repeaters and/or remoting the base station. I would love a new analog solution. I know Phonak had to stop production of the classic.because they don't make the chips anymore but can they make a new model.off of new chips?

  4. On 9/24/2023 at 10:39 AM, Bluelobster said:

    Most recent configuration:

     

    SD833

    DSR4

    SRB

    Audioroot eSMART BG-DH MKII

    Comtek M-216

    Betso Bowties

     

     

     

    Soundbag Sept 2023.jpg

    So clean! How are you liking the DSR4? What are you using for rf distro?

  5. 3 hours ago, sonyslave said:

    Interesting...

    A question for you question: Would an analog recording that was as equally weak and as equally clean as your digital signal, then "cleaned up" in post using the latest  computer processing yield a cleaner final product than a "cleaned up" version of the low bit utilization audio?    Perhaps the "infinite" levels of analog would offer more raw material  for the super computer (and by that I mean  your phone)  to weave into usable audio.

     

    So, should we return to analog wireless with analog recording ... then dump it to the super computer sort it out?  ...of course this would be for "under gained" situations only.😉

     

    I love this. I love analog whenever I can.

  6. On bigger shows in NY, I find that generally production gets their first 2 lockits along with their camera rental from the camera rental house. If I'm hired early enough, I try to sell them on using mine for an additional charge.

     

    For the smaller/corporate stuff, I'm hearing around $500/day is the norm just for mixer/recorder, boom and 2 lavs. No TC or IFB. And the base rate seems to be steadily rising.

     

    I'm really happy about the transparency we're seeing with kit rentals these days.  Just a few years ago, people seemed to be publicly keeping their info close to the chest which wasn't actually helping anybody.

  7. I'm still wondering what's wrong with using my digital hybrid wireless transmitters? They sound fantastic. I mix movies and TV shows and it's rare that I run into issues that would necessitate the ridiculously wide dynamic range that 32 bit supposedly has. In those rare cases, I throw up an extra mic. Maybe this tech is best for pro-sumers or documentaries where you only get one take.

  8. I use mine with a 98wh battery to power a Speakeasy and 411 for a small self contained mini playback speaker. No complaints. Plug and play. I also used it once to power a Comtek BST in a car.

  9. 17 hours ago, Rick Reineke said:

    I usually put the bag in the car with a Comtek or other IFB to the follow vehicle . On a few shoots with an unpreditable distance, I fed the IFB and and a walkie-talkie, the walkie did not sound as good but the range was over a mile, good enough the hear what was happening when the IFB crapped out.

    How do you keep the walkie cuing? In my experience, they "time out" after a certain period.

  10. I love the phone idea.

     

    I always drop the bag in the picture car, just to be safe. I only use Lectrosonics. One trick I've learned is to put a receiver on the camera (either the mix from the bag, or if you're not dropping the bag, tune it to your plant mic, etc). The audio will be embedded in the SDI signal and piggyback over with the video into the follow van. Just make sure the tracks/inputs in the camera are enabled. If they lose picture, they lose sound too, and they're not going to roll without picture. Plug a speaker into their monitor's audio out (sometimes they have internal speakers depending on the monitor).

     

    One downside to having a speaker is that you risk feedback when the director walkies over to the talent so speaker volume and placement (and walkie volume and placement in the picture car) are super important. If you wanted you could try plugging a comtek/ifb transmitter into the monitor output to avoid this. But the point is, piggybacking on the sdi video signal guarantees that if the video is there, the sound is there.

     

    One exception to this I've found was with an ultimate arm rig. Somewhere in their signal flow, the ultimate arm car was stripping the audio off the SDI and so it was not making it to their teradek transmitter.

  11. 3 hours ago, humbuk said:

    Unfortunately, it seems that sound engineers on the set will no longer be needed... or rather, if there will be live recording at all, one person with a recorder and one microphone will be enough, and the rest will be fine-tuned by AI and that's already the present... There will be no need at all for wireless systems and similarly... I'm trying to find the only thing why a sound engineer with a car full of equipment would be needed and I can't think of anything at all....

    No engineer needed. Mic plugged directly into the camera. Only thing staving this off in the near future is unions, right? Right?

  12. 8 hours ago, Phillip C Dent said:

    Thank you Johnny. I understand that I can adjust each channel on the 664. The issue is not with the level of the iso channels. The issue is with the level on the MixL/MixR on the 664. Typically, I could have identical levels on the iso and the MixL/MixR with my faders at the 12 o’clock position. However the linked channels from the 552 will not deliver the same level to the MixL/MixR with the faders in identical position as the faders in the 664. I have to turn the faders up to compensate.  This should not be the case. The faders from the 552 should deliver the same level as the faders on the 664 to the MixL/MixR, but this is not happening. I’m just trying to figure out why.

     

     

    Glad to see this thread come back to life!

     

    Phillip, does adjusting the master output knob on the 552 help? Cranking that up shouldn't affect your pre-fade direct outs.

  13. I'm reminded of Apple. Keep coming out with new stuff and discontinue the old stuff (which works great) so eventually we feel the need to upgrade whether we want to or not. I was doing just fine with my 664/CL-12. They went ahead and discontinued both just to ensure more sales of their newer product line. I upgraded to a Scorpio partially to help reduce my taxes but also somewhat out of pressure to have the latest and greatest, despite not needing half of those tracks and features. I suspect the same will happen to the 8 series line eventually. I miss the old SD.

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