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Matthew Marzano

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About Matthew Marzano

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    NY, NY
  • Interested in Sound for Picture
    Yes
  • About
    Sound Devices 552 for Sale
    Sony WRR862B/WRT822B for Sale

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  1. Prototype BEC bracket for F55 Documentary Dock

    They already make a plate that does that, it's The BEC Group Under Camera Mount #1. https://www.adorama.com/becbotplt1.html I've also had some custom work done by Mr. Babcock. Always excellent results.
  2. NEW: Audio Ltd - DDX1010

    I'm talking about the American market. That's why I said "US A10", US meaning United States but I can understand that not being clear if you're not from here. Too many acronyms to keep up with these days. I'm going to email Audio Ltd. and see if I can get some files to play with and compare a transmitter recorded file to a mixer recorded file. ill report back if I hear anything...poor pun intended.
  3. NEW: Audio Ltd - DDX1010

    This is where the old system stood. I'm sure with the recent distribution partnership, this will improve. On another note I was reading some Audio Ltd. literature and it seems the US A10 can record or transmit but not simultaneously, similar to the new lectro models. The A10 records to Audio Ltd.'s proprietary compressed format. I wish they would provide sample files for download. Ideally the same file recorded at the transmitter level and one through a SD 688/SL-6 kit so we could compare.
  4. NEW SMWB and SMDWB Lectrosonic units Announced..

    @IronFilm, don't know about all this negativity toward Zaxcom. Mr Sanders is an entrepreneur and deserves the fruits of his labor, intelligence and foresight. Besides, you live in New Zealand, why do you care so much, it really has no effect on you unless you're married to using lectrosonics (which is understandable)? When people are talking about Audio Ltd, the products aren't infringing on Zaxcom patents unless sold in USA, so the idea that they didn't include a feature like HP O/P because of a patent in one country seems like a stretch to me. For the record, I'm a lectro user, and I want the simultaneous recording transmission feature too. Sorry to derail the thread. Looks like a great product from lectro.
  5. Why not get one of SD's Mix Pre-3/6's? Very lightweight. It can use the same L series batteries your 744 does or Hawkwoods just came out with the SD-1 which provides a hirose power input for standard NP-1/BDS setup.
  6. Sound Devices & Audio Ltd

    Funny I was just about to post this in the A10 thread as I was hoping for better compatibility between the companies, well I guess I don't have to worry about that anymore....and as far as speculating on products, as camera systems become more modular, I wonder if SD starts producing modules for the cameras with wireless integration? I was just talking to Dennis at SD today about hoping they'd make a more advanced version of lectros pdr. He didn't say anything. Will be an interesting NAB in 18 for SD. I'm all in.
  7. Lectrosonics SMWB coming soon?

    After a brief skimming of the manual I'm curious if there's timecode integration in the recorder portion. The manual doesn't say anything about it. I was hoping there was a licensing agreement between Lectro and Zaxcom, but obviously not. Unfortunate. Still looks like a sweet device. I wonder if the overseas versions can record and transmit? Could be firmware activated like the Audio Ltd A10 or 1010 transmitters.
  8. Sound Devices Mix Pre-3 and Mix Pre-6

    Updated firmware available. https://www.sounddevices.com/support/downloads/mixpres-firmware
  9. Update on the upcoming Tentacle Sync-E

    Mozegear Tig's can do scratch and timecode out of threaded 1/8" connectors. I'm not up on all their models but most, if not all, have a mic input.
  10. NEW: Audio Ltd - DDX1010

    I wonder where integration with SD's SL-6 stands? Last I checked it lagged behind some of the competitors for features available through the 688. That being said, I was checking because if/when I upgrade my wireless, this is what I'm aiming at. Sadly, all the FCC auctions have tempered my desire to spend a $ on wireless, even with these wideband options.
  11. Traveling With Cart Overseas

    I've personally been eying some of the DIY pelican case setups I've seen on here. I think there in the section of photos of sound carts, or the DIY section, one of the two.
  12. MixPre-6 – worth it for this beginner?

    This forum is great for the experience and knowledge that the community members have. There is no doubt that many of you are at the peak of this profession and the fact that users can get access to that knowledge is appreciated and valued. Many people are striving to get where you are. Along the way, there are jobs and workflows that are less than ideal for a multitude of reasons. Adaptability is the key for survival (not to get too Darwinian). Believe it or not there are jobs out there where the audio person is running a camera too, as appalling of a thought as that may be. The audio might even be mounted to the camera in some fashion, which is exactly what SD markets the mix pre as. Have I ever mounted my 688 to any camera set up? No. I'm curious Mr. Deakin, how much velcro would it take to mount my 688 to a camera? Where is the best spot? Enlighten me, please. Not only have I mounted the mix pre d to my cameras for years, I even modified the XL-Cam bracket to Arri 3/8" (with registration pins), and I mount my lectro SRa wireless receivers to it, without a touch of Velcro anywhere, using BEC cases (shout out to Mike at BEC for all the custom work). But Chris is right when he says the downside is the camera's internal recorder. The bottom line is, is this a slightly different tool than a "working location dialog mixer-recordist" may want? Yes. But is the OP a "working location dialog mixer-recordist" or is he a beginner, as he himself points out in the title of the thread? He's a beginner. Along the path to the mountain top he may need to work jobs with other people who are on a similar level. I'd bet that 75% of the jobs the OP gets in the next 2 years will be with a camera that doesn't have timecode I/O, except for HDMI/SDI video feeds. In that scenario, at least the MixPre series presents an option to sync files that my 688 does not or any of the other "pro gear" for that matter. For the other 25% I'd recommend renting a 6 or 7 series, ideally from a local, who sees you hustling, and hires you to help him/her. Then you've set up a mentoring situation for your rental $ and that's a greater return on investment than the gear itself. Which is why many of us are on this forum to begin with. To learn. But when the OP has a sub $500 machine and is trying to buy a sub $1000 machine and the recommendations are to spend $3000+, well...i'll let you all decide whether it's realistic advice or not. My final note (damn I'm regretting posting) if you guys can't wrap your brain around why some of those features I listed are useful, I will illustrate (and no, it doesn't include carting around a laptop in your location sound bag. Ugh, really?!? This is about getting rid of the location sound bag on many jobs.) Interviews, the backbone of many working sound and camera people. For years I've worked a job for NAB (even ran into the Senator once, my all time favorite forum member who gave me a flashlight with "it depends" on it) called Backstage Conversations. This is often a 2 man crew with lights, 2 cameras and a 633 kit. I'd much rather use a mix pre 6. Then I don't have to worry about clicking record on the 633 as the MP3/6 is being triggered by the camera instead (and don't get me started on the 6 series record button). On small sets where multi tasking is essential, one less task is greatly valued (Canon DPAF, Dugan automix, mix assist, etc.). As far as long cable runs, that's the part many of you are missing, the cables are a few inches long, running directly to/from camera to the MP3/6 which is mounted beneath or on the side of the camera. So for this type of job, if you wanted to hand off timecode matched files to a client, just the weight savings alone is worth using the MP3/6 cause all the cameras that do have legit I/O are heavier than the ones that don't. Couple that with the extra weight of the 633/688 and all the batteries for both devices, well then the MP3/6 setup will not only save some time but will allow you to pack a much smaller setup and to move much quicker for those "fast moving shoots" I keep hearing about. There will always be those that feel it's best to send Goliath into The Valley of Elah.
  13. MixPre-6 – worth it for this beginner?

    1. Input timecode from my Canon 1DC and various other cameras that only output timecode via HDMI. 2. Trigger record from many cameras. 3. Screw onto my camera cage. 4. USB interface for computers. 5. Wingman app (compared to 7 series)
  14. MixPre-6 – worth it for this beginner?

    Along the lines of the 788, why not look at the other 7 series recorders? I've seen 702T's for under $1000 and 744T's for under $1500. I'm unsure of the 7 series metadata entry compared to SD's more modern offerings. I have a mix pre 6 and love the device for the jobs it's good at (specifically dslr audio on a one man band shoot). The mix Pre 6 does things your 6 or 7 series recorders can't do. I don't think it's a one or the other scenario. Another option is to pick up a used Mix Pre D and use it in front of your 70D. Often, on lower budget shoots they're only using camera audio anyway, the Mix Pre D is a versitale mixer with tons of output options and if/when you grow out of it you can give it to your boom op to use or mount on cameras that don't have XLR inputs. All that being said, the Mix Pre-3/6 has been so popular that it's depressed the used markets of all the devices I mentioned above. It's a great time to buy a used SD product because of that. One last note on the timecode of the mix pre-3/6, if you're actually on a shoot where the camera can accept timecode, well then it can output timecode too (or most can) and if you got a device like a mozegear TIG, you could jam the mix pre-3/6 and have matching timecode (though you'd need to check often for accuracy, even if batteries haven't been changed or devices powered down). That being said, it certainly seems like the low budget crowd loves to use plural eyes these days. I'd also wager that the majority of shoots that a beginner finds themselves on, the cameras don't have timecode I/O. Even the popular FS7 needs an extension, the new Canon C200 does not, none of the DSLR's, etc, but the majority of those cameras do output timecode over HDMI and in that scenario the Mix Pre 3/6 offers timecode options that can't be matched by any of the more "professional" recorders. Good luck, matt
  15. Sound Devices Mix Pre-3 and Mix Pre-6

    So after some testing, I can now reliably trigger record the Mix Pre-6 from both a Canon 1DC & a Canon C500. Sadly, it is not a direct connection. I will share specifics of the setup when I have time to go into greater detail. I know I mentioned the Gratical before, it doesn't work for this purpose. Wishing for several years that a manufacturer (SD/VD Hello) would make a 1080 EVF with built in proxy recorder, HDMI & SDI ins and outs, with cross conversion and full timecode capabilities (more important feature than proxy recording) via those outputs and inputs. Is that too much to ask?!? I know it's possible. The tech has been available for some time, just in different products from various manufacturers...and now, back to our regularly scheduled programming.
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