mross

I don't see how this will replace anyone doing field work, from what I understand the automix only affects the LR mix tracks, in many cases that is nothing more than a guide track to camera. I could maybe see this decreasing some work in the post audio world, as automixed location sound may be clean enough for the editors to do the final "mix" themselves in smaller productions. The iso's are what matter at the end of the day, and those would be crap unless there is a trained professional or crew who knows what they are doing. Everything from, getting clean lav and boom tracks , signal flow and operation of the equipment, managing all the wireless of talent and camera feeds, IFBs, Timecode, battery management, boom operating, the list goes on...if that all is not done right, there are gonna be problems. Give a random PA a kit with this feature and the sound will be bad no matter how nicely it 'automixed'.

Can't say for sure but those are the exact accessories included when purchasing the mic (minus the rycote) Usually ships in a black sennheiser box with everything included. Also the mic should be black and not grey..

I'm struggling to find a reliable pair of ear bud style headphones for monitoring on the job and wondering if you have any recommendations? I prefer using headphones ( Sony MDR 7506) but I'm looking for pair of ear buds that I can use in situations where I have to wear headgear like a helmet or fur hat in extremely cold conditions that makes using over the ear headphones not fit. I've tried the SHURE SE215 but am not a fan of the around the ear bud style of wearing them and found them too be way too isolating for shooting in the field. (can't hear directions and need to be aware of any hazards in doc style shooting) So if you have any recommendations for ear buds that are reliable, comfortable and not too isolating i would love to hear them, hoping to spend between $100-$300 Cheers,

That's right, it is the sony FS7 and hopefully with XDCA-FS7 extension unit

Right on, the production is checking with the editor, I think they will go with the extension but it's great to know that I could do it this way with the Denecke box rather than wireless. Thanks!

Thanks Taylor, ya they mentioned the option of using a timecode audio track instead and I'm trying to get as much info to see if it is even a realistic option or more trouble than its worth. So it really isn't reliable then especially compared to using a timecode input that stamps the files? Definitely pushing towards the extension, I don't think the editor will want to go with the audio track timecode route either. All the info helps, I really don't have experience sending LTC onto an audio track, I've always used the TC input or used a slate.

The sync box i have is the Denecke SB3, could i go BNC to XLR out of the Denecke box into the camera? It has no levels or other outputs available.

Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, To me this seems risky and it would be a massive headache, especially if in post if the TC can't be decoded for whatever reason. Also don't think pluraleyes will be an option as I read in this forum that it doesn't like multi channel audio files? Will be 8+ tracks poly wavs mostly. Any thoughts? Thanks in advance!!!

Thanks, I assume it was not having a sync box on the camera that cause the sync issues, i'll know how to handle it from now on. Would there be a situation where camera is shooting at 23.976 and I would have to be set at 29.97 like it is shown in the PDF i linked?

I'm going to be doing location sound for a doc this month. They will be shooting at 23.98, and editing at 23.98 in FCP 7. I have done some searching on this group forum and it seems the recommended is to set my recorder (SD 664) at 23.98 as well. My plan is to jam 2 Denecke SB-3 from the 664, and have the boxes dials turned to 23.98 as well. Then lock to them to Cam A and Cam B to feed the timecode. Are these the proper settings to ensure good sync in post? The reason I am unsure is because a local veteran recommended 29.97 setting on the 664 when shooting 23.98, referencing this chart: http://www.aaton.com/files/avid-recording-rates.pdf I tried using this setting recently but the camera wouldn't accept the timecode so I switched to 23.98 In post there were sync issues, which could have been caused by the diva complex camera-crew who refused to have a timecode box on their set up. or the fact they had an inexperienced editor, so I'm just not sure what's right. Thanks in advance for any confirmations/suggestion that can help clear all this up for me!!!