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About acdave

  • Rank
    Hero Member
  • Birthday 01/01/1

Profile Information

  • Location
    San Francisco, California
  • Interested in Sound for Picture
  • About
    I primarily work on documentaries, corporate/industrials and commercials globally.
  1. PAID 5.2 Just Released

    Am still looking for suggestions for a Mac-based film production-centric invoicing and accounting software as an alternative to PAID. I've auditioned a few solutions and they're all terribly lacking in either features or function. I resurrected an old MacBookPro running Lion and the old version of PAID. It seems to work just fine and I'll consider this to be a temporary solution until I find that replacement software. I reached out to J.E. Jack, PAID's developer, to try to figure out how to transfer the current PAID data to the old machine, but haven't heard back yet. I'll report back if anyone's interested. Dave
  2. PAID 5.2 Just Released

    I just upgraded to High Sierra and now PAID is crashing continually. Too bad, I've been a user of this software for forever. Anyone have a suggestion for a similar production-centric invoicing software for Mac? Thanks!
  3. Noise on the return cable from FS7

    So funny. I just had this same experience earlier this week for the first time with an FS7. Minor timecode bleed. I was hard-wired to the camera for both audio and timecode from my SD633. Wasn't recorded on the camera's audio track, but annoying in the camera's return, nonetheless. I'd never heard it before on an FS7, but certainly have on other cameras. I also chalk it up to bad grounding in these lower end cameras and other video devices. My latest question is why some situations allow audio to be carried over the SDI output on cameras and others don't. I've been doing too many last minute, long-distance video villages lately and always hope for a single cable solution to use the video monitor's speaker. That seems to be happening less and less. Also annoying. Dave
  4. Happy birthday to our host

    Happy Birthday, Jeff!
  5. Mobile cart evolution

    Thanks, Nate!
  6. Mobile cart evolution

    Love the cart! What's the brand of the dual paddle antenna mount with what looks like a magnetic third antenna in the middle stuck on a baby plate? Thanks!
  7. Sony ECM-51 (skinny Bob Barker mic) help

    I found this online. http://www.angelfire.com/funky/plinkoman/sonyecm51.html It mentions that the mic needs an N type battery. Hope that helps!
  8. $.89 NP1 case

    I bought some of these pencil boxes at a Target last week. They're quite hard to find in stores. They seem to be in the special, seasonal, back to school section, hidden in a bin. I checked with Target online...you can't find them online, some sort of a glitch. You can call your local Target store and the following item number should work, but no promises. 081 22 2828, possibly followed by a R01 As shown in the photos above the item name is Up&Up pencil box. My price was 79 cents. The store can do a search by item type and price. Good luck! Dave Wendlinger
  9. Did a search here on jwsound and couldn't come up with anything. I'm looking for an pocket-sized, inexpensive way to display timecode to cameras like GoPros and the like. Also, an inexpensive way of having an AC powered TC display for a multi-cam setup, so I don't have to leave my TC slates with the sticks up all day. Maybe even to hang onto my bag in start/stop docco timecode situations. I ran across these. https://www.microframecorp.com/products/timers-clocks-counters/smpte-video-time-code-generator For $200, they seem like potential solutions. No clappers or other audible sync capabilities, just displays. I'm sure I could attach a set of small clapper sticks or even a clothespin, if needed. Either the Master or the Mini. Anyone have any practical field experience with either of these units? Or, any initial feedback? The reviews I've found online seem positive. Thanks! Dave Wendlinger
  10. Free Cases - Come Get 'Em

    Just sent you a PM, Dave. Thanks! Dave Wendlinger
  11. Hi Adam! I'm one of the many people that bent your ear at this year's NAB. Here's a photo of my 14 year old Portabrace bag, model MX-M4II, made for my old PSC M4MkII mixer that I'm currently making work for my SD 633 until something comes along that fits my particular needs better. The photo is of the bag in its most basic setup. The MX-M4II bag's main drawbacks are that it's old and floppy, needing some lightweight structure and that it needs a better space saver for when I don't use the 633's attachable Sony L batteries, which is almost always. It also needs better access to the 633's CF and SD card slots. The general layout works for me. Compact and lightweight, with enough room for my typical jobs. Thanks for listening! Dave Wendlinger San Francisco, CA
  12. Update: The shoot went well, although ultimately, I had to abandon the WM because I couldn't convince our host to wear a BCD vest as flotation and he couldn't stay high enough out of the water to keep the VT lav clear. Boomed the wet stuff with my CS3e and a softie at full 19' extension, but partially balanced on a rig I have for such occasions. My mixer was on a small stand/cart. The Six Flags hydrophone didn't work, so mine came to the rescue, hooked to my old Radio Shack 9volt amp/speaker and recorded into my Edirol R-09 placed poolside in a ziplock bag. The Six Flags talent almost jumped into the water with my non-waterproof mike, luckily I got a sense about what she was thinking, and stopped her, so no calls to the insurance company. Everyone happy so far, most likely except for post who will find something to complain about. Thanks again for all the advice! Dave
  13. Thanks for all the help, everyone! The shoot is tomorrow. I'll follow everyone's advice and hope/pray for the best. I got a WM kit from Trew in LA, which I'll see for the first time on location. Includes a couple of mikes. Bringing most of my toys/tools, including an 816 which rarely comes out to play. I won't wear a harness rig near the pool. Excellent warning! I bought a novelty clapper slate from a "entertainment" store which happened to be across the street from today's location's lunch spot. 8 bucks. Which I'll use tomorrow, then probably throw away, if it doesn't become my stunt slate. What could possibly go wrong? Thanks again! Dave
  14. Part of the series I'm currently working on has a scene where our host will be swimming with dolphins in a Six Flags salt water pool for a demonstration of dolphin echolocation. We'll have hydrophones for underwater sounds, recording to some digital recorder. I'm renting either an Lectro MM400 or WM transmitter, along with a waterproof lav for surface-y stuff, placed on the host, who'll be wearing a wetsuit and hopefully a life jacket. Primary camera is a 5D in a hard underwater housing. Several GoPros scattered about underwater, as well. Recording to a 552. Any tips on how to sync the 5D to the 552? I'd rather not put any of my slates in the pool, if the handlers would even let me. A proper handclap would hopefully suffice, but does anyone have any better ideas? Fewer, longer takes? Or, any other useful tips? I'll have the wireless and a CS3e on the the longest pole I own at 19 feet as a backup. Hopefully, it won't be windy and I can get away with a softie. Thanks in advance, Dave Wendlinger San Francisco, CA
  15. I'm putting together a compact audio bag for a specific confined-space location, basically for one day, out of stuff I own. The job's in a couple of days. Using a 744t and a SD 302. The 744t front panel knobs control tracks A and B, and the 302 controls tracks C and D. The 302 feeds two sources to the 744t's Line In TA3s, tracks 3 and 4. All input sources are assigned to tracks A thru D and can be monitored from the 744t's headphone out properly. Recording to the 744t, feeding a two-channel camera hop and trying to incorporate a Comtek (M72) feed of at least tracks A and B out of the 1/8" L + R tape out of the 744t. Normally, I'd feed the Comtek through the TA3 Tape Outs on my 552 or 302. Never done it from a 1/8" Tape Out. Have had no luck with my TA3 to sub-mini Comtek cables. I haven't figured out the Comtek feed yet in this case. I think I have the 744t Output settings correct, but something's still amiss. I'd like to send at least a couple of tracks out to the Comtek. I've tried a bunch of Output 1 assignments. Have tried a kluged stereo 1/8" to Comtek cable, with XLRs in the middle, then tried a stereo to mono 1/8" adapter. What am I missing? A special cable? Summed 1/8" to mono locking sub-mini? Specific 744t configurations? Any way to send the Comtek feed from the 302's Tape Out? Thanks in advance! Dave Wendlinger