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About chrismedr

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  1. doh, of course you're right, my mind must have severely confused last night, sorry for that :/ but yeah, there's a TB2 to FW800: and I've used that for connecting disks and firewire interfaces several times without any problems, so chances are that a TB3/USB-C --> TB2/DP --> TB2/DP --> FW800 will work as well.... but it sure gets fiddly and a bit expensive.
  2. apple itself makes one (and made one for the older thunderbolt2/displayport connector too): as I understand it, it's basically a PCIe FW800 card stuffed into the connector - pretty amazing how small things got.
  3. in the review above the guy also mentions: It is also fairly critical with the batteries, i.e. it will not charge old batteries. so that could be the issue. Interesting that your findings comfirm that the reviewers methodology seems to be quite accurate. Kinda depends on both, your charger and your batteries: Older NiMH style batteries loose charge pretty fast, so even a week after the charging they will have lost quite a bit of the max charge. So with those batteries you'd need either to charge the night before or use a charger with trickle charge. Proper trickle charge will not really harm the battery, but you'll need a quality charger, the bad ones might overcharge the battery. another option is to build your own trickle charger where you use a timer to do some short bursts of charging a few times a day. Newer ready-to-use NiMH batteries (envelop are a high quality variant of those) loose charge rather slow, so unless you need the last percent of runtime you could just store them off the charger for a few weeks without significant loss of capacity. chris
  4. I just stumbled over this site the other day when researching something else (danger of the internet): Charger Ikea Storhogen 603.306.50 UK.html seems to be a guy quite obsessed with chargers, according to him the Ikea one is kinda ok, but has trouble detecting when the batteries are full due to the low charging current.
  5. well, personally I like a hop with scratch to camera whenever possible, along with TC sync, because there's usually no slating. I know that most people here work on projects where it's considered unnecessary or even dangerous (scratch might get used), but since I'm often involved in post I'm not worried about that, and chances are that one out of ten or twenty something goes wrong with timecode and then I'm glad I have the scratch track (and plural eyes) as alternative to sync things up. I guess on bigger productions people have the slate as backup, so scratch is unnecessary.
  6. Weller makes a battery powered iron I'd been wanting to try for a while: looks like a nice backup if you have to work away from the grid and not expensive either. But for starters, I'd go with a Weller 25W as well (they have a unit with built in LED now that looks interesting)
  7. I think most people will consider a standard XLR cable to camera included and a wireless hop as extra (personally I'd be tempted to throw in a G3 as a free hop if they can't pay for it and that allows me to be independent from the camera since I dislike having a cable link to camera). But generally I don't see this as a hard rule thing - If production pays proper rates I'm not going to argue that an Alexa cable that costs me 80EUR to buy and I'll likely use for quite a while will be another 5EUR per day rental - just feels cheap to me. If I'm faced with a production where they try to skimp on rates on every corner I'll definitely list every extra item and charge for it.
  8. I don't see this as a big problem. With the popularity of the Alexa Mini, having a audio cable for it at hand seems like a no brainer to me. even if rental sends one along it's good to have a personal one as reserve - it's like 80EUR. I have one to mini jack, because i find it unlikely that I'll ever want to feed it directly from a mixer. most of the time it is dual system with scratch track for me.
  9. as mentioned above that sometimes doesn't help either since airport staff doesn't know the difference (plus, it would make the batteries quite a bit larger and heavier). definitely becoming a tricky issue because often it will all work without problems, but you never know when you run into a dead end.
  10. I've heard both recommendations on wet sponges. Weller (who is one of the respected brand names for solder stations over here) recommends using their sponges with distilled water. you could think they just want to make extra money, but since they are only 1.50 or so I don't think that's the main reason (they could also sell brass wool). I have their entry level station and agree it's a big difference over a no-name iron (was affordable too, got it on a sale for 80EUR) some other good tips here:
  11. the FiiO line is pretty good value. Used the A3 for a while.
  12. yeah, I haven't seen many projects in europe where you get the wages of an US feature film production. In germany, rates for general TV productions are negotiated with the official tarif list: so a sound mixer should get 1537EUR per week, the assistant 1121EUR. that's for a 50hours where each day should be no more then 12h. up to 60h get a 25% surcharge and the ones over 60h are plus 50%. night work is also 25% extra, sundays 50% and national holidays 100%. a lot of companies will try to pay less then that, or not pay any overtime (which nobody should agree on cos otherwise the days get really long really fast). the union for sound also has a list, which also lists daily rates: there's quite a difference if you are "angestellt" (employed) or work "auf rechnung" (self-employed through invoices) since if you're employed that will also cover health insurance etc. if you are self-employed, then rates are 400-492EUR per 10h day for a sound mixer depending on the budget of the production. for equipment, kortwich is a good reference to start with: so a lectro set with lav is 54EUR net atm. usually I'd expect rental prices to be higher in places with higher living cost, but we had a shoot recently where rental for high-end camera gear in london was like a third lower then it is in Berlin, so that was odd. chris
  13. would be interesting to know if the DR-70 has a "true" line level in. Some of the cheaper recorders basically pad things down and then everything goes through the mic-preamp anyway - that would explain if you don't hear a lot of difference. also I take it you compared the two with playback on a studio grade system and not through the recorders pre-amp (which also might level things). that said, I'm sure sound quality is good enough, so time to focus on the recording part.
  14. Probably none of the sound mixers problems, but I'm curious: How does production address the issue of privacy in a shoot like this? Are they just asking the passengers for permission for the footage on the end of the ride and tell them that they won't use the footage if they feel uncomfortable? I could imagine some people getting quite upset when they hear they've been filmed and recorded secretly (I think I would). chris
  15. yeah lovely unit. But I'd also have to buy a zaxcom transmitter while I usually have a spare G3 TX around.