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Matthew Marzano

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Everything posted by Matthew Marzano

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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)
  6. 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
  7. 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.
  8. Sound Devices Mix Pre-3 and Mix Pre-6

    Just picked up a Mix Pre 6 for my "toy" camera, a Canon 1DC. Love small footprint filmmaking, especially if you haul the gear on your back. Mix Pre-6 really solves the audio/timecode conundrum for DSLR's. Though SD doesn't specify the 1DC as being compatible with the Mix Pre 6, I can report that the timecode is read via HDMI but the record triggers don't work accurately (expected outcome). My 3 design complaints are: 1. The HDMI input and stereo output aren't on the same side of the Mix Pre 6. On the majority of cameras this will be used with, the two compatible ports will be right next to each other. Had they been next to each other on the MP6 it would've made for clean cabling. 2. Speaking of cabling, wish the 1/8" inputs and outputs had threaded connectors similar to the mix pre-d. 3. For mounting options, I wish it had a 3/8" screw option. I know there's adapters and I might customize something. But this is targeted (amongst others) at a higher end DSLR shooter. A large portion of those camera people have cages and can mount gear to them. Those cages have 1/4-20 & 3/8" holes. The best, I've found, is the Arri 3/8" with registration pins. Ideally the camera is as close to the tripod as possible and I find it better to mount the audio input to the cage rather than underneath the camera. Though I do find your current 1/4-20 to snugly hold to the cage. At times the Mix Pre D would move a bit under similar circumstances. The other issue I see encountering (and I know this is specific to my style and not really a mix pre 6 issue) is that if you shoot handheld, you need a device like the Zacuto gratical to balance the camera rig and view your image. If those devices do not pass HDMI timecode through, then you've lost your timecode connection (at least via HDMI, which would be most accurate for camera timecode.) That's it for now. A great thank you for this device. I own a 688 and a Mix Pre D, and neither are perfect for how I want to work. This one really slots into a sweet spot of weight vs. capability.
  9. Pelican transport case

    Ah, in the spirit of JW and The Senator, "it depends". (Damn, that's fun for forum folk.) What do you mean by "a lot more gear"? I like the Pelican Air 1615 which is similar to the Pelican 1650. That being said I've been scanning the DIY Pelican carts on this site to come up with a more advanced solution.
  10. Lectro PDR, not Lectro PMR

    Thank you Steve. I think these would be great for one man band doc/event work...amongst other things, of course. I'd love to deploy a handful of these on a project.
  11. Lectro PDR, not Lectro PMR

    Any updates from early adopters? Of course I'm curious about the sound quality but I imagine it's great being lectro. What I'm really wondering about is after a battery swap does the timecode need to be rejammed?
  12. Buy a new wireless

    Appreciate everyone's opinion in the thread. I know this has gone into a Zaxcom vs. Lectro discussion mostly and I currently use Lectro myself but if I was buying new I'd take a long look at the Audio Ltd. 1010 system, especially if you use Sound Devices 688. I definitely read Mr. Ford's review, but curious if anyone has experience with them, or any thoughts you'd like to share?
  13. Equipment suggestions for Africa Shoot

    I did sound on a documentary in Ethiopia several years ago. I'll point out a couple obvious things: 1. Make sure you have the correct power adapters. 2. Have spare cables for all your critical cables. 3. Have a backup mixer and/or recorder. Something that can work in a pinch. Worse case scenario but I'd find a workflow to get at least a boomed shotgun mic into camera if everything else fails. 4. Agreed on 416, but if budget doesn't allow another copy for backup, you could grab a sennheiser me66 or a rode ntg. Travel safe.
  14. Mounting a Zaxcom RX on an Arri Amira

    I've been talking to Mike at BEC too and have sent him some Arri arms and a cheeseplate so he can create some Arri 3/8" mounting options. For anyone interested in BEC, Mike is open to customizing options to fit your needs. I'm getting several items from BEC but one I'm getting is a BEC camera bottom plate #1 and replacing the 1/4-20 with Arri 3/8 including the registration pins, then you can mount any standard BEC cases to it. I believe the Arri patent on their 3/8 interface has expired and companies like Wooden Camera are starting to create camera accessories with the Arri 3/8 pattern, which i think will become much more common within the industry on all camera kits (not just Arri). As someone who does sound and/or camera work, the registration pins are a must have because a 1/4-20 will usually rotate a bit and annoy the $#]+ out of me and velcro is even worse. When I dial in my setup I'll share with JW.
  15. Unfortunately I have a timelapse shoot booked for this Friday. Wish I could've helped out. Very curious about results.
  16. Depending on the date & location, I could shoot & do post for the project if my company name can be credited. I'd bring a 416 if it wasn't covered already.
  17. Sound Devices 688 + SL-6

    I want. Mix assist and output delays clinch it for me. Think I need to sell a mint 664/cl6 package.
  18. Canon EOS 1DC and timecode?

    Deleted post to finish my research. Will post when finished.
  19. Canon EOS 1DC and timecode?

    Deleted my post. Doing research now. Will post findings shortly.
  20. Sony UWP-D Wireless Microphone Series:

    Bumping in hope of further input. Especially when used as a wireless hop. Seems like a good option for that task. The USB power being the foremost feature for me along with the adjustable antenna, and mounting options beyond velcro (though with a nice flat surface if you have too. Seems like most the recent power distribution boxes have the 5V output and that'd be perfect for this system.
  21. Asset tags for gear

    First post. Wanted to share my amateur up to date research. Hoping I can inspire some senator sarcasm...or maybe I'm not worthy yet. Fingers crossed. The goal is to track gear and not lose anything. I want to use an iPhone for scanning and ultimately end up in Quickbooks for billing. So I'm going with maverick labels, the links above are outdated so here's a new one: http://www.mavericklabel.com/products/asset-tags.html Then seeking an iPhone app and in my research find this to be the best option, if only because they keep supporting the program and they have a bunch of simple tutorials on YouTube: http://inventoryscanner.de/ After scanning I'll export a file (csv) to excel (to do this requires a subscription, but only costs $15.99 per year) and then export from excel into Quickbooks. Hope this helps some people out. Great forum to read and learn from.