• Content count

  • Joined

  • Last visited

About chrismedr

  • Rank
    Hero Member

Profile Information

  • Location
  • Interested in Sound for Picture
    Not Applicable
  • About

Recent Profile Visitors

2,385 profile views
  1. looks like an interesting box. I take it you're looking for a way to have longer cable runs to cameras with balanced inputs? since you're in germany, I think the easiest would be to order one and if it doesn't work as expected send it back (as thomann has an excellent return policy). and let us know what you find : )
  2. This is probably going off-topic, but I have to say that lenses from the 70s/80s are very sought after these days, and some people (including me) will argue that an Arri or Panavision film camera from that area is still producing nicer images then the latest digital camera (the same is harder to argue for tape recorders or wireless systems of that time). what has changed drastically, and this is true for both audio and picture, is size, cost and features - and the MixPre is pretty much on the front line on those counts imo. chris
  3. I think it's exactly those missing features that people are referring to when they say it's a bit long in the tooth and certainly not sound quality. If all you need is 2 mic preamps with adjustable gain and 2 additional ISO without gain control, and don't mind the size and weight or the price, it's still one of the best machines out there. The MixPre however adds 2 more adjustable preamps, mix track, remote control over bluetooth, audio interface capability, etc all in a smaller, lighter and cheaper package, which makes the 744 look kinda dated. I love the build quality and the metering of the 744, but I'm not going to buy one* while I probably will pick up a MixPre as a second machine, and I think a lot of people will do the same. (* I might change my mind when the used price tanks even further, but in europe they are still quite expensive)
  4. well, there are probably people here that know more about the nitty gritty tech behind these things, but I'll try to describe how I assume things work and hope others will jump in where I go astray.. In audio recording, TC is just a time stamp in the header marking the time the recording started, after that the recorder runs of it's own clock and further TC will be calculated through TC start flag + sample count. So if you feed the Mix-Pre-6 by the TC of the 633, the TC flagging at the start would stay in sync indefinitely (since the MixPre would always adjust to the 633). Or with a simple example, lets say we record a one minute take now, and another in ten hours, and both would be in perfect sync TC wise. Problem is once you keep running long takes, the clocks start to drift, so if we do one 10 hour long take, the flag at the beginning will be in perfect sync, but the clocks are not, so the sample count will drift, so one of the takes might be 9h59min59.8sec and the other 10h00min00.1sec long, so the end of the recording will be out of sync, and the only way to fix this is to stretch the recordings in post forcing a resample. The "proper" way to do this would be to use recorders which accepts a world clock and generate their audio samples based on that, so the recording would stay in sync indefinitely. as to how fast the drift occurs without an external clock, it depends a lot on the devices used. with the video cameras where I did tests I was usually at least one frame off after an hour, not sure how well current audio recorders keep up, but just do a test - start a recording and slate it every hour for a few hours, then align and examine the waveform on the computer (TC is irrelevant for that test) hope that clears a few things up Chris
  5. yes, that part is what I meant with TC is no problem. But it probably won't lock the clocks together the way they mentioned it does if you use the TC input over HDMI (which you can't send from the 633), so on long takes you probably get sub frame drifts (which is only a problem in special projects).
  6. yeah, I had the same thoughts, to me they look more like splendid little ISO recorders (if the preamps live up to the promise) But probably their target group are a lot of DSLR users, where one could argue that it will indeed mix 3 or 4 balanced mics to the unbalanced stereo input of the camera, with the ISOs as a backup. Or maybe they figured that the original MixPre has a very good reputation and thought why not keep using that name. chris
  7. sure you could, but how does this help if you need 18 ISO tracks or more with world clock? not saying that this is the best idea ever for professional recordings (lots of cables and things that can come loose) but still an interesting option for the experimental folks, specially if you can borrow some extra Mix-Pres from friends. chris
  8. I know this likely wasn't your decision but 60'000EUR for a camera and 600EUR (or in other words 1%) for an audio recorder always make me wonder what producers are thinking..
  9. I was more thinking of the colours - I mean just look at the skin tones (and the rest of the colours are nothing to write home about either) But judging from the haircuts and clothing, the target group seems to be indeed the cool one-man videographer (who has no taste ; )
  10. well, the marketing images on blackmagics website are completely baffling to me - why would a company which makes some really good cameras and one of the best colour correction systems put up a picture like this:
  11. kinda, you could take the TC out of the SD633 and feed it into the MixPre-6 Aux Input and have it read TC from there. That would give you synched TC, but most likely not a locked clock. In other words, you could easily synch up the two recordings based on TC at any given time, but over a certain length they would likely drift a tiny amount (sub-frame) if the take is really long. so on concerts etc you'd probably have to tweak it in post. On the Gotham Video linked further up they mention that if you feed TC over HDMI the clock gets locked to the HDMI signal, so in that case it would stay in perfect sync over several hours, so it might be worth contacting SD directly to ask if the Aux In provides the same functionality (in which case my first paragraph is moot) chris ps: that brings up a funny idea: one could get a cheap device that outputs TC on HDMI, a HDMI splitter, and several MixPre-6, which means you could probably build a small 18track (with 12 balanced mic preamps) recorder with locked clock for around 3500EUR net.
  12. I had very good experiences with editing on resolve as long as I used decent hardware with good GPUs and high end codecs (ProRes, DPX, etc). I found it not fully stable when working with codecs such as h264 or if the project gets extremely complex. In 14 they claim they improved playback for these situations, and if it turns out to be true I will switch to Resolve as my main video editor as I really like the interface, workflow, and colour grading capabilities. Audio so far has always been a pain in Resolve and while I'm sure I will only use 5% of the capabilities Fairlight offers, I'm glad that those 5% are there. chris
  13. new version of Izotope RX6 out:
  14. cvp and pinknoise are based in england, if you read the last few posts above you'll see that in the EU (or germany at least) it looks like it is sold for for 900EUR net or 1070EUR incl VAT (which is practically no difference if you consider import tax)
  15. at 25fps, 1 frame would be 40ms, so there's no point in changing timecode for a 7ms delay since it's only about 1/7th or a frame. for on set monitoring, you could put measure how much your specific setup is out of synch and put that as an output delay.