Erik

Just notice this new audio delay/lip sync corrector on the B & H website today that looks like a much smaller, lower power solution than the Behringer Shark. Sescom SES-A-V-SYNC A/V Lip-Sync Corrector Under two inches square, AC power 0.5 watt, 8 setting audio output delay from 0-300 milliseconds for $79.

I purchased the Schoeps CMIT shotgun partially because they claimed it was less susceptible to the humidity/moisture problem. I have not found this to be true. This first time I ran into the problem was on a set where I was set up outside a motel room with an outside temperature around 62 degrees. The set was in the motel room, with HMI's, probably over 75 degrees. Between set ups the boom operator would rest the boom at the sound cart. After about an hour and half the CMIT started to get noisy and sound very off axis for a close up shot. After the shoot, I sent the mic into Schoeps to get checked out (still under warranty). After 4 or 5 weeks it came back from Schoeps, who claimed something was wrong and they fixed it, but provided no details. Redding Audio, the US distributer had no information on what the repair involved either. A few months later, on a shoot in Oregon, in inclement weather, the same problem happened again. I really like the sound of the CMIT but I hesitate to use it EXT in anything but the nicest weather. I have never had this problem with any of the other microphones I own.

Thanks for the link Marc, I must remember to do a search before I post. My bad.

Good points made. On the comedy feature film I just wrapped, the director(s) had requested off camera dialog because on previous movies they had found an off screen reading was funnier or a better improv. In this case I can totally understand the request and was happy to comply. I guess my point in asking this was that we all know off camera dialog is not consistently of the same performance level. It's not uncommon for actors to save themselves for THEIR on camera, while giving more a line reading off camera. An actor out of shot standing right next to a noise camera creates an issue as well. To the Senator, I'm talking about real Union feature films not DSLR hobby projects. Feature films are unique events unlike episodic television which settles into a rhythm, a template from episode to episode which provides a framework that has some predictably built in. It just adds more work to do, more chances to miss a cue and mess up the MIX and yes we have ISO's but still...

Wondering how often folks are getting asked to record off camera dialog on a motion picture shoot. Traditionally we record all off camera dialog for episodic television shows to speed up editing due to the fact of short post production schedules, quickly looming air dates, etc. I'm being asked more and more to record off camera dialog on feature films. On a motion picture, the release date is far off, so there is plenty of time for post. I prefer to concentrate on the on camera dialog, especially due to the faster pace of digital filmmaking these days, now that relative calm of 35mm acquisition is rapidly disappearing.

Today I was at an outdoor music festival when a DSLR film crew showed up and started interviewing people. From the badges hanging around their necks, they appeared to be the official media crew of the festival. They had a sound guy. His entire sound equipment consisted of a Zoom H4n on monopod "boom pole" and a pair of cheap head phones with a long cord. It was rather windy so I suggested that he might want to spend at least $49 on a Rycote branded fuzzy for his Zoom from B & H Video. He looked at me like I was from Mars. Maybe we are all doomed by the Zoom cult.

Wondering if anyone here has had a chance to test the new Apple Thunderbolt/FireWire 800 adapter connecting a 788T to a Thunderbolt equipped MacBookPro or Air (I don't own one). It should "see" it as an EXT drive allowing one to copy files to the Mac. Any issues come up? Now as to wether a 788T can RECORD TO or BACK UP files DIRECTLY through the Apple Thunderbolt/FireWire 800 adapter; that is a question only Sound Devices can answer. And yes, Senator I have posted this question on the Sound Devices User Forum as well.

Just picked up the new CD reissue, "Mercury Living Presence: The Collector's Edition" of 50 CDs at amazon for $100. That's 2 bucks a CD if you do the math. These are classic recordings from the 1950's/60's. Some were recorded on 35 mm magnetic film stock. A few are mono releases. Wilma Cozart, one of the original recording engineers, supervised the CD transfer in the early 90's. Very nice audiophile ear candy.

I do have a replacement value coverage policy. The thing I wonder about, is that each new version of our various pieces of equipment has so many new features and capabilities, (and sometimes at a lower price), can you really say it's an equal replacement for the discontinued gear? This would seem to open up the potential for a lot of interpretation by a claims adjuster.

It's getting near that time to renew my equipment insurance. Wondering how folks are placing a value on discontinued but still useful equipment. I see Fostex DV824's being listed for as little as $1000 on the consignment pages! I recently regulated mine to an emergency back up recorder, with the purchase of a 788T as my new main unit. My insurance rep has never given me the clearest of answers. Something along the lines of the value of a comparable piece of equipment, but there are different price points in any given equipment category. Erik

Maybe you are looking for "Production Wireless Services" in Burbank? I don't remember the guy's name, but he repaired a couple of my lav's years ago at a fair price. Google for the address & phone number. Erik

Hello Group, I starting production sound mixing a new 2 camera Red television series a few weeks ago and the Red audio has been rocky to say the least. Our workflow is 23.98 all around with syncing in final cut pro. My recorder is the Fostex DV824 in DDR mode with an Fostex FR-2 back up. There is no telecine on this show, everything is handled in house. Production demanded that a usable mix track be recorded on all of the Red cameras for instant dailies. Dailies are distributed via Quicktime on the intranet. Production does not want to spend an extra day syncing up production audio for dailies now that the camera can record audio. This is a big deal to them and I fear it is the future. Two primary Red cameras with often a third one on the Steadicam. The line level mix track comes from my mixer through a Cat 5 cable (which also caries back 2 down converted SD monitor feeds for my cart monitors) to the HD video village, where it is then Y split into two XLR cables built into the camera snakes feeding channel 1 of the A & B Red cameras. The Steadicam Red camera gets a Comtek 216 receiver plugged into channel 1 Problems so far: The Red male mini XLR to female full size XLR has resistors built in to interface with the Red camera's odd, non standard audio scheme. These were causing the line level mix track to come in too low which required the assistant editor to boost the levels. The Red camera has NO line level adjustment. Our solution was to build some mini XLR to full size XLR cables with NO resistors. This boosted the line level mix track being recorded on the Red camera by 20 to 30 % Our picture final cut pro editors claim that dealing with more than one audio track on the Red camera causes huge problems for them at this time. Were trying to figure out what they mean by that? The constant plugging and unplugging of cables has resulted in no audio be recorded on some of the Red camera's some of the time. Yes we need someone dedicated to this position. It has been a constant conversation on wether this in a 600 or 695 position.

The search for a new mixing panel goes on... Soundcraft Spirit M8 Series mixer This looks like maybe an alternative to a Mackie 1604/1642 mixer (same weight, a couple of inches deeper and wider but you can take off the sides/rack mounts). It's got 100mm faders, switchable pre/post fader on the direct outs, professional grade connections throughout. No DC power of course. $759.00 online or at guitar center. Really wish I had put in that Cooper 208 order last year... http://www.soundcraft.com/product_sheet.asp?product_id=24

Here is a comparison link between the R-09HR and the R-09 http://www.roland.com/faq/en/R-09HR/R-09HR_Comparison.htm

Here is a link to a sound on sound youtube video demonstration of the new updated Edirol R-09HR recorder. http://www.soundonsound.com/news?NewsID=9896