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Everything posted by RPSharman

  1. Do I take from the still photo on top and video just posted that screen can be flipped? That's pretty cool, for use in a bag with screen angled toward you, or flat on a cart.
  2. Like I said, dumping off more frequently to insure proper functioning of the machine seems wiser that using non-approved media :-) I agree an updated list would be nice, as some of this media is less easy to come by. But in the meantime, stick with the list.
  3. With my old 216 Phonak earwigs, I ran my portable Comtek transmitter into set on an XLR, or moved my base-station to set with a battery and a 411 receiving signal from my cart. A little Pelican with all the bits in it sounds brilliant! Completely necessary too with the Rogers being up around 2.4G, IIRC. As for your original question... When I lived in LA, I was either working or wasn't working and felt I didn't want to spend the money to stay in a hotel, and that was with the ability to drive there. These conventions seem less and less necessary, and many vendors are skipping many of these expensive shows. That said, I'd really like to go one day :-)
  4. Many cards will work until they suddenly don't work, and cause a world of trouble at the worst possible time. I am sure SD will release bigger cards or will test new cards, but in the meantime just go with smaller capacities. The only reason for a big card is to archive several days or weeks of work. If you use a smaller card, you just have to copy it over to a hard drive more frequently. A small price to pay for peace of mind. But perhaps that's just me.
  5. Get a quality mic (or mics) in the right place, and you could record on a Zoom or anything else and make most clients happy. They just want a cheery mixer with reliable gear that works for the job, and clean and clear tracks. I use SD machines because I like them better for a pile of reasons. I use 50s because I like the way they sound. I use Lectro wireless, DPAs and COS11s because I like them. I know that if I'm happy, they'll be happy. If you're a professional and you get good results, clients don't care what you use. They want you to have the experience to bring the right gear for the job, and to know how to use it. Or some clients just want you to be the cheapest option, and they hope you don't suck.
  6. I buy from people I "know" and sell to people I "know". It's doubtful people who know each other would knowingly sell each other something that wasn't as advertised. But like anything used, if it craps out after a while, it's really just bad luck. If it arrives broken or fails almost immediately, then it's worth having a chat. If something is a particularly good deal, I often factor in the manufacturer's fixed price repair as part of the equation. If it's still a good deal, I roll the dice.
  7. Non-approved media works until it doesn't. It's usually a layer transition thing. The root of all evil in SD machines is the media. I would stick with approved media for sure. While it may be hard to find on your own, with these new cards supported by SD, and some good cards still available that are on the list, it's just not worth your reputation to save a few $$. Media is an expendable, technically, so should factor into your business model.
  8. It's easy enough to rewire the XLR end. I have very few soldering skills, but swapping a wire or two in an XLR is something even I can handle. Just get the right wiring diagram from Lectro.
  9. Glad this has been resurrected!! Found a great whisky when last in LA, called Mulholland. It's made in downtown LA and available directly from distillery or from K&L. It's 100 proof but drinks smoother than most standard 80 proof whisky. Also discovered Nikka Coffey Grain whisky from Japan. I have always liked Japanese whisky for its precision, but never its uniqueness. This is unique and lovely. My most dangerous discovery was the 12yr Red Breast Irish. It drinks like water. A lovely flavor (although a funny "nose") with the smoothest finish of any whisky I've ever had. You're welcome :-)
  10. I agree. Why spend $1000 on a mic that is rarely the right choice? There are piles of used 416s around. I can't imagine it'd be hard to find one under $1000, even in ZA. And the 70 is huge for booming indoors. I've seen lots of 70s go up for sale at more than $1000, but I wouldn't count on being able to sell it off down the road. As stated, many people don't even carry a long shotgun. Myself included. Never have.
  11. These are the things I obsess over for no good reason. Best thread in ages. Now I want to go play with my 411s and see if they beep.
  12. I went all in. Over a period of about a year or so, I picked up a few bits and put a skeleton of cart together, anticipating moving up. I bought a couple of used 50s and a DV824 (which I was renting to a multi-track show. The mixer I was working for was on 2x744T, and the DV824 fit the show better). When the time came, I bought a Mackie 1402 which I modified for 12v and tone and slate mic and PL with external module. I bought a 744T to go along with DV824. 6 SMs, Venue, some used MKE2s, 2 new COS11s, 3x411 (used) and 302 for portable stuff, pair of 416s, 10 PR72b with one BST50 for PL and a portable for clients. Boom poles, Rycotes, PSC CartPower and PoweStation, follow cart, etc. Probably spend $50-60k pretty quickly. This was 2005 or so. Everything was used except recorders, SMs and Venue (new product to the market), XLR cables, and new 416s which had come back on the market after being discontinued briefly. I knew I was very lucky to have a lot of support for 2nd units and small movies, and wanted to be fully equipped. I knew I'd be meeting new boom ops and utilities and UPMs, etc. Wanted to look the part :-) Didn't want everything to look muddled together. Still have the same cart.
  13. Can they build a little one in the form of an Iron Man palm device? Then I can ask people to talk to the hand.
  14. 32GB is pretty much all I have, although I never get near filling one up. Ever. I'm sure there will still be approved media of other sizes available, but if you're picking one size to manufacture, 32GB seems right to me. This is a great idea for SD to provide media so there's no doubt about whether it's been tested or if it's authentic. These will be on my expendables order for the next show!
  15. You seem to have a lot of criteria, but also seem to have made up your mind and want us to support your decision. My opinion is that if it's worth doing, it's worth doing well. Sure, the Zoom may be fine, but as David pointed out the 744T has proven itself for years as a rugged and premium product. The Zoom may also prove to be that. Perhaps you'll be the tester. But if I'm taking a year in the wilderness and spending my life's savings to produce a product that is frankly not unique, I'd want insure it was of the highest quality. Your audience may not be able to tell the difference, but the person you want to pay you to carry on might. I'd think a 744T with a quality MS rig would be a minimum for this sort of adventure. If you don't have the money for it, save up a bit longer. Seems risky to spend a year of your life with lower quality untested gear. I love David's idea of the little Nagra for discrete recording in sensitive locations, in addition to your main rig. In terms of security, Constantin is also correct. All this gear will look the same to a thief.
  16. Oh, boy! I didn't mean it like that! Very sorry if you took it that way. I hate the internet.
  17. When an actor suddenly changes a performance. Shouts instead of whispers. Everyone LOVES it!! Your 6-series line input clipped. There's the problem. We can all agree that proper gain staging will prevent the use of limiters for regular use. But we're not getting paid as professionals to record ordinary things. Almost anyone can do that (although I've hear a lot of distorted news reports lately). We are paid to capture performances that are out of the ordinary. We can't simply say, "Ooops. That actor is going into one of my line inputs without a limiter, and I didn't get that take." Although when an actor changes the performance and overshoots a mark, and it's out of focus, they seem to be ok with that.
  18. Yep. The video lost me when he mispronounced Thames.
  19. This is GREAT!
  20. Very nice indeed. I really want to get "smaller".
  21. Are you sure the Pelican LiFE is not powerful enough?
  22. Aren't they one or the other? I'd think you would quickly get used to not having the wrong thing selected. Perhaps that's true. I don't remember that from any of the previous discussions. It is a real shame, however, if trim can't be on a control panel. It's not that I use it constantly, but with narrative work, we do go to the gain knob from time to time more than just the setting at the start of the scene.
  23. The lack of trim knobs is why I don't like the CL12. If they're going to make something new, it should have trim knobs.
  24. I had no idea that little Zoom controller existed!! What a cool setup for a car rig. For process trailer work, I can imagine this would be a great option to get linear faders with a very small footprint. If SD doesn't introduce a mini panel for 633, then I might go get an F8!