Jump to content

Jose Frias

Members
  • Content count

    1,721
  • Joined

  • Last visited

4 Followers

About Jose Frias

  • Rank
    Hero Member

Contact Methods

  • Website URL
    http://www.josefrias.com

Profile Information

  • Location
    New York City
  • Interested in Sound for Picture
    Yes
  • About
    www.chapterfour.tv
    www.josefrias.com

Recent Profile Visitors

5,221 profile views
  1. Sound Report Writer app

    Tyler Faison is indeed the creator of this app (along with the TV Timecard app). He's also a working sound mixer based in Dallas. Great guy. I'm sure you can email or call him. His contact info is on his website: http://tylerfaison.com He also roams around these forums every once in a while.
  2. Boom Pole Quick Connect

    Copy that, thanks for the correction. I can't tell a difference in weight, but I had assumed that because it's smaller it was also lighter. I totally agree with your last sentence.
  3. Boom Pole Quick Connect

    I'm using the Orca Bags quick releases. Smallest and lightest of the bunch, and very easy to snap in. http://www.orcabags.com/product/orca-boom-pole-quick-release/
  4. 16-Channel Analogue to Dante Location Mixer

    Hey Jeff, as I mentioned on the Facebook post, didn't intend to sound dismissive about the Deva 24. Just not the solution I'm looking for (digital mixer with Dante and DC power). Unless it's changed, Dante will only be available as an option through the Mix-16 control surface, which would then interface to the Deva24 via it's connector. While definitely a solution, not what I would personally want as it means you need both the Mix-16 and the Deva 24 to get Dante running. At least when it was the Deva 32, you'd really only need a PC computer to set up the interface software, which you would require anyway to setup Dante, and with something like the Kangaroo PC you could get an inexpensive yet small and powerful solution to do just that, also with DC power.
  5. 16-Channel Analogue to Dante Location Mixer

    I've been talking about this for at least two years since Zaxcom announced the now defunct Deva 32 concept. It would've been the first Dante-enabled digital mixer with DC power (and built-in recorder too). Unfortunately for those of us wanting such a product, the Deva 32 transformed into the Deva 24 instead, which is no longer the same thing. I so desperately would like a digital mixing surface with at least 12 banking faders (for most situations, enough, especially considering I only have 10 fingers to mix with, so that should be enough) that fits within a 19" rackmount space (and doesn't weight 50lbs), is DC-powered, and is Dante enabled. P&G faders would be nice, but not a requirement; it would need to be motorized, though. Infinity knobs for trim and settings. I'd be okay with a "Touch-and-go" knob a la Yamaha for trim and other settings. I think having some analog and digital I/O may be useful to connect to other pieces in the cart that are not Dante-compatible (say IFB transmitter), but I don't see having any phantom power mic inputs on the mixer necessary. Most inputs would be via wireless (so Dante), I would only really need one input for my talkback mic, but phantom isn't necessary for that. And if I actually did need phantom power, I could easily interface any Dante I/O unit separately depending on how many mic inputs I need, all of which could be powered easily over ethernet. So in essence, all I would need at the back of the unit is maybe 2-4 mic/line inputs, 4 mic/line/AES outputs, and you could even throw a bigger AES I/O count (8 in / 8 out) via multi-pin connector just in case. Any other serious I/O I would do via Dante. This would hopefully keep the size and weight of the unit down. Flexibility is the most important thing. Being able to do custom routing with multiple buses is key, otherwise Dante is useless. Built-in DSP can be a big plus; EQ, compression, limiter, gate, delay, phase, even an automix algorithm would be welcomed additions. To that end, having a decent sized screen to be able to see settings, routing, effects, etc is essential. I do like the idea of small LED screen per channel that will display channel / track naming, as well as values for variables that are being affected on that particular channel. Unfortunately, as many others have mentioned, I don't know that there are many companies that would be willing to make such a product considering that it wouldn't be many of us buying (I've asked). It's definitely a niche product.
  6. Advice On Record & Playback Setup in Nomad 10

    Assuming that the director wants video playback as well, not just audio, then just depending on your Nomad won't do the job. In fact, it is actually another person's whole job to do this exact thing, record takes to playback for director. Usually it means feeding audio via XLR to either camera directly, or to the Video Assist who then dials the proper delay to match and record with video.
  7. Sound Devices Mix Pre-3 and Mix Pre-6

    Good to know. Thanks Paul!
  8. best preamps in a small 2 track recorder?

    I also think the MixPre-3 would probably be your best bet.
  9. Sound Devices Mix Pre-3 and Mix Pre-6

    Tom, I think you keep inferring things from my comments that I'm not implying. All I keep saying is that a camera's clock (as you stated in professional video cameras usually less than 10ppm) is in general less accurate than a recorder's clock (In my experience, professional recorders will have less than 1ppm). Until now, I hadn't stated any specific accuracy values, nor any specific examples. The Canon C300 is considered a professional video camera by many standards, however as you probably already know, it will start drifting very quickly in comparison to a recorder like Sound Devices 6-series. There's obviously exceptions to everything. Arri Alexa is extremely accurate at 0.2ppm. Anyway, the point of all this here being that the Sound Devices MixPre-3/6 could likely work well with professional cameras as well as DSLR-types by having a timecode generator feeding it timecode via Aux In, and having a sync box feed timecode and genlock to the camera (i.e. Canon C300).
  10. Sound Devices Mix Pre-3 and Mix Pre-6

    I never stated any reasons. Just that in general, video camera clocks are less accurate than those of recorders. I do agree with your statement regarding TC stamping not being enough even with pro video camera when doing longer takes.
  11. Sound Devices Mix Pre-3 and Mix Pre-6

    I was not aware of this, since as you say, it's not documented on the manual. Would love it if someone from SD could confirm this. Thanks for bringing it to my attention!
  12. Sound Devices Mix Pre-3 and Mix Pre-6

    On the recorder? Just TC stamp. The HDMI connection on the MixPre only provides Timecode as well. Only wordclock will control the speed at which the recorder samples. But considering that our recorders sample at a much faster rate than cameras create frames, they tend to have more accurate clocks, and I would be more concerned about the video drifting first. You can have a sync box on camera that supplies both Timecode and Genlock.
  13. Sound Devices Mix Pre-3 and Mix Pre-6

    You can use the Aux input on the MixPre to feed it Timecode for syncing. This opens up a few options. You can either use sync box(es) and feed timecode to both recorders, or you can have the 702T as master feeding Timecode from it's Lemo connector to the 3.5mm aux input on the MixPre, for example.
  14. Sound Devices Mix Pre-3 and Mix Pre-6

    Some of these adapters may have a voltage regulator built in to step down the voltage from whatever the battery or distro is supplying to the voltage that the USB or L-mount batteries typically supply.
×