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Everything posted by RPSharman

  1. How high is the volume turned up? They do have some noise. Much more than an ordinary receiver, of course. Make sure the level on the transmitter is set high and the receivers are set low.
  2. I think your instinct to run the transmitter up with a longer input cable is good. Or try just hanging it on the side away from all the other RF bits. Or better yet, just run it out closer to where the receivers are. When I ran an M216, I put it on video village.
  3. I don't doubt that using a single antenna on a harness would be a great benefit ergonomically. It seems the OP wants to make a mini cart. I just can't see that adding a cable from an M216 to a combiner (which has weight and size) offers any benefit over the rubber antenna attached to the transmitter itself. Believe me, I'm all about trying to reduce size and weight, but this seems to do neither. I'd love the OP to describe the scenario. I'm also all about learning new things :-)
  4. If you're using an M216, I would simply leave the antenna where it is. At 10mW, you can't afford to be losing 30% of your range (minimum). One little whip can't possibly be a weight or size issue. Just my opinion.
  5. I'd think that when someone purchases a company they also purchase the obligations, including accounts payable. I imagine they are chasing down any accounts receivable. Hopefully it was a confused employee and not one of the new owners.
  6. The plug-on solution is certainly easier to protect from the rain. A little plastic bag, a rubber band, and a mini pouch of silica. It's going to be more of a challenge to keep it dry around the cables and such.
  7. I'd be reluctant to drive a van full of heavy stuff without a steel bulkhead. Also adds security. A powered dehumidifier is great if you are plugged in. Way more effective than mine if you have a van full of wet carpets or something. It is quite important in colder and damper climates to control the moisture in an enclosed vehicle. Never had to worry about it in my trailer in LA. In the UK it's a battle. I have partially insulated the van as well.
  8. The self-made aircon covers are great, because you can have several of them and swap them out as they get saturated with water. I have put a rainman over a furry cover before. Hard to seal up, but it's ok, the rain doesn't usually come up from underneath :-)
  9. Something like this in the cab - https://www.amazon.co.uk/dp/B005MZ1EJE?psc=1 This in the back placed up high - https://www.amazon.co.uk/Kontrol-Moisture-Condensation-Trapper-Litres/dp/B00NVAN9KE/ref=sr_1_fkmr0_4?s=kitchen&ie=UTF8&qid=1493997635&sr=1-4-fkmr0&keywords=large+dehumidifier+tablet
  10. Check the serial number and send an email to Sound Devices. Some of the original units had a different system, if I remember correctly. I know that gain was one of the issues.
  11. I did a few TV episodes with basketball games as a big part of the story. One thing you can do is have them use a long lens for people talking on the sidelines. Carpet between the lens and the actors and have them fake a ball. It'll never be missed on camera, as you'll be waist up with foreground crosses. Same with other game footage in the BG. Get a foam ball the same size and color as a real basketball. If it's not in focus they won't be able to tell. Shoe noise is easier to edit around if there's lots of footfalls. It's just noise. Ball bouncing isn't easy to edit around. Passing drills that don't hit the floor are good for background action for practices. That kind of thing. Fixed plays are a must, so you can judge the amount of noise and make it easy to edit around for both sound and picture. Goes for practices and games. In terms of people playing basketball and talking, I wired anyone with real talking dialog that was going to have coverage. But if it was just shouting and such as part of the game, then I did't wire. I played perspective. Also, in real life, players don't talk much on the court during play. Only when the ball is out of play. I vampire clipped to the jersey. Waistband. Easy enough.
  12. I talked to Ron a few years ago about this, and he seemed to think that some conventions weren't worth the expense for smaller manufacturers like him. Maybe he'll piggyback on a booth next year, but in the meantime maybe he'll let you peer into his shop if you happen to be visiting Valencia, CA. Maybe if you're on a pilgrimage to where Paul Walker died, less than a mile from PSC! Can't express what a fan I am of Ron as a person, and of Ron's excellent gear and craftsmanship.
  13. I don't set delay in anything. But that's just me. Who needs to do maths at work every day? Not me!
  14. Cool. We're saying the same thing :-)
  15. Oh, I agree lighter is better. Not meaning to be argumentative. I'm only saying that a bit of weight at the end of the pole (and losing the cable weight inside) is a small price to pay for improved range and mobility on set. But I am suggesting that there seems to be a lot of complaints about trying out a practice which is very common in the UK and around Europe.
  16. I haven't experienced this is a few years. Shooting 4k, there is some consideration of storage. If there's any time where the mic is out longer than 11 minutes (1000ft), it is rare. Resets are usually long. If our boom ops need a minute (a reload) at 11 minutes or even less, then we should ask for it. I've not once had anyone give me any trouble when I've said, "We need to cut". It's usually a relief for other departments too who can go in and fix things.
  17. I agree. It's always when the camera and the actor are still, with a wide depth of field, and you hear the ringing of the servo. I'm thinking, "Just leave it there!!" - I have noticed that the sound of the gears is never really the issue except on a big pull, but I think you'd get that on the whip too. It's the ringing of the servos when they're not maintained properly. I have asked for these to be sent in, but the issue is that if it belongs to the 1st, he/she has to subrent during the service period. It's always a delicate conversation. On the last show, they belonged to Panavision, so if they got noisy they were sent it. No issues at all. They always came back quiet. It did help that if the DP heard any camera noise at all he was embarrassed and almost seemed concerned that I was less concerned than him.
  18. Yikes! That cyclone is heavy!! The new offering from Zaxcom is presumably lighter than their plugon.
  19. When we talk about a way to combat poor range in an ever-growing RF nightmare, and improve mobility on sets with 3 cameras and piles of focus monitors by having fewer cables hanging off the boom operator's body, it seems to me that a tiny bit of extra weight at the end of the pole is a non-issue. Let's not forget that boom operators boomed with 416s 816s in full zeppelins without complaint for years. I bet a mini CMIT or 4017C or 8060 in a small zeppelin with a plugon at the end probably weighs less than a 416 in a larger zeppelin.
  20. Wonder what happens when they are running 3 or 4 cameras. The biggest issue our video guy had on the last show was that any time the third camera was in operation, range became a huge problem, on all cameras. Limited channels in the wireless range, etc. Thankfully, I never had a single problem with interference from camera. Not once. No buzz. No range issues. First time ever. Let's hope that will be the case with this new system. The biggest issue in the past has always been crappy cables, which this camera system should eliminate, if Arri put some thought into shielding.
  21. That's a tough question. It seems to me that for documentary work, I'd like for it to be clear and intelligible, even if it's a bit less "natural". Although cutting from narration to archived footage, you sort of expect to hear the noise, which really adds to its authenticity. For narrative film work, anything that affects the quality of the voice would probably bother me, but perhaps only if it's a well-known film or actor. So the answer is... sorry everyone... It depends.
  22. Vans don't have flat sides, so I had a frame welded to the bulkhead to create a flat surface to strap my carts to. It's really the only modification required. Insulation too, so that the interior stays dry. I have a couple of dehumidifiers in there too.
  23. Oh. I thought that was one of the selling points of the digital version of the 664. My mistake. It's that you can route any input to any output, not any input to any track (like the 788).
  24. Only issue with this being that inputs 7-12 do not have input limiters. But I'm quite sure that you can route inputs to whatever tracks you want on the 688.