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Herbert Verdino

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About Herbert Verdino

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  1. NEW: Ambient | NanoLockit

    I am disappointed, that there is no scratch mic build in the nano lockit. One of the main reasons to go for a relay small timecode device is, that you do not want to put more stuff on the camera, than needed. For me it is a reason to go for a tentacle, which is very sad, because I have 2 tiny Lockit's and one ACL 204. A nano lockit would fit very good in to my timecode family. The thing is, that not all post pro people can handle audio timecode well. As far as I know, and pleas correct me, if I am wrong, only Avid can read Audio Timecode. If you are working with Adobe or Final Cut you need additional software. A lot of editors prefer a reference audio signal instead of audio timecode to sync it later with plural eyes. And since the post workflow is not always clear, and full of misunderstandings it is always the best, to give them both opportunities.
  2. NEW: Ambient | NanoLockit

    Yes... I know. I have build a bunch of different y cables to use my tiny lockit in combo with a rode video mic or with sennheiser evolution receivers, etc... Most of my client's always want a reference audio track on every camera. And since this dslr cameras are often used in gimbals or other small rig's, it is not always possible to mount a extra device, like a video mic on them. Since the nano lockit is clearly build for dslr cameras, I do not understand, why ambient gives no build in option to feed a audio signal on the second audio track? I know, that the audio quality from the tentacle is not good. But good enough to use as guide track. The lanc logger had some cool audio timecode features, by the way. At least you could pass a audio signal threw, without using a y cable I still love my other lockit's and acn is great!!!! :-) Gesendet von iPhone mit Tapatalk
  3. NEW: Ambient | NanoLockit

    Hey. Is there a build in mic, like with tentacle? Or a possibility to connect a video mic? Most dslr cameras switch of there internal mic, when you connect something to the mic input...
  4. Recording 10 Tracks, 2 hours on 688 or 644

    Thank you very much for all your input! I think, I will do the Job with the 688...
  5. Recording 10 Tracks, 2 hours on 688 or 644

    Hi, I am looking for a solution to record up to 10 tracks on a portable audio recorder and was thinking to use a 688 or 644. I am a little bit concerned, about the long recording time and the high numbers of tracks. Because these recorders do not have a build in hard drive and record only on SD/CF cards, I am not sure if they are capable to record such big files for such a long time, without any problems? I usually work with my Aaton Cantar X1 which records 8 tracks for several hours without any problems. But on this job, the X1 has to less recording tracks... Do some of you have experience on recording several hours on a 6 serias recorder? I would be glad to hear some advices. Thank you, Herbert
  6. Zoom F8

    Maybe they will build an extra control interface to ad hardwer mixing faders... Like the CL8? Than it would be an more interesting machine for me! The audio interface option is very nice!
  7. Which MS stereo solution?

    ...but the Zhephyx system is to small, to fit a shotgun mic. With my Rycote system I easily can change from an MKH 60 + basked for outdoor use to an MKH 50 or 40 without basked for indoor use. Using the same suspension and wiring.
  8. Which MS stereo solution?

    I have not much experiance with Cinela products. Can the basked ease be removed, when you use the system indors? The nice thing about the Rycote systems is, that you can just slip the basced away and you have a suspension, that is not much bigger, than the mics. As I understand the Cinela system, It is not possible to just remove the basket, and use the suspension without it?
  9. Which MS stereo solution?

    No, I have not tried Cinela. I was writing an e mail to them and they told me, that combination of mkh 60 + 30 is to heavy for there products. But I can imagine, that the Cinela solutions are better, because also the basked is shock absorbing mounted. A friend of mine uses a double MS combo with MKH 8060 + 8040 + Neumann KM 120 as fig. 8 in an Rycote Cyclone, where the basked is also shock proof. Ad his very happy with this rig!
  10. Which MS stereo solution?

    I am using now a MKH60 or 50 + MKH 30. But without the Floater it is impossible to boom. It works ok. The only problem is, that when the wind is strong, the whole basket is bouncing bouncing around, because of the Floater. But this happens only at strong wind. I also can easily upgrade the system to a double MS system. See the picture
  11. M/S Stereo setup (Sennheiser KHM418 upgrade)

    I tried several MS setups and in my opinion, the Schoeps CCM 8 is the best 8, because of his small size. It is also less sensitive to handling noise, than the MKH 30 or the Neumann KM 120, which are in the same price area. I use an MKH 60 or MKH 50 + MKH 30 and I do have to use an Ambient Floater to reduce handling noise during booming. by the way... In my opinion, the Neumann RSM 191 is one of the best sounding MS Microphones, but I am not sure, if it is the right choice for documentary work (external matrix box, sensitive to RF influence and moisture as I have heard and also sensitive to handling noise)
  12. Boom operators - Cool photos

  13. Red Epic and Genlock

    Thank you all for the replies and the links. And thank you Senator for the tip, to select the same frame rate on the cam and on the ACL :-). I think, the reason, why Ambient suggested me to use Genlock was the unstable speed on the Red. Yesterday I did a test run with the Epic set to 23.976 (and the ACL set to the same) and the Genlock sign on the Red kept staying green for at least one and a half houre constant recording! Could be luck also...
  14. Red Epic and Genlock

    I just spoce with some camera guys and they recomendet me to change the frame rate from 24F to 23.976F could help. Will try this...
  15. Red Epic and Genlock

    Hi. I am actually shooting with an Red Epic and I am using an Ambient ACL 204 to timecode sync it with my Cantar. We are shooting interviews, so the takes we make are 20-30 min. long. I spoke with Ambient and they recommended me, to use Genlock, because of the long clips, we are recording. When we start to record, everything is working well. Both, the TC and Genlock sign on the Epic screen appear in green, showing, that both is ok. But after a while, maybe one hour or 20 min shooting, the Genlock sign jumps to red. So something must be wrong. After a restart of the Epic, everything is fine again, for a while. The Settings on the ACL are 1080p (I tried also 720p) 24F. Also the Epic is set to 24F and it is set to use the external TC. Any Idea, how to fix my Problem?