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Found 14 results

  1. Camera Hops

    Let's talk about it! What setups do y'all use? What cameras have give you the most headaches? Timecode/scratch/mix? How do you tackle it?
  2. Shot on a Prius

    Simultaneously shooting movies whist fighting climate change!
  3. Quick question here because of some advice I overheard. I do a lot of 1 and 2 Camera interviews for broadcast, and normally I use a 10 pin snake connection to a 664. I listen to return coming back through the snake, but a much more experienced sound man suggested I start listening to return through a separate 3.5mm extension cable going directly to the camera. His reasoning was that the mixer could have setting where the return isn't true. Does anyone else do this? Anything to add to the reasoning or is it overkill?
  4. Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
  5. Check our demo video: Hydrascope Camera Crane filming from one boat to another!
  6. It could just be these O'Connor fluid heads, the operators, or camera gear being older, but I've been noticing the clicking noise from the camera operators unlocking and locking the fluid heads on the show I'm on. It's the pan and tilt latches Has anyone else started to notice this annoying snapping sound?
  7. Hi all UK soundies. Does anyone know where I can hire a camera hop (Zaxcom, lectros or Wisycom etc) with all the cables and 'V-lock' mounting system. I would prefer Zaxcom (but not with TRX 900/STA combo) as I have experience with this but totally open to any suggestions. Looking for a week's hire in the week starting 5th of May. Any help would be appreciated. Thanks, Will. w dot planitzer at ntlworld dot com
  8. Hi wonderful JW members! It's been a little while since I posted on here and I wanted to start by thanking everyone for the wonderful resource this forum is. I want to start a conversation about the pros/cons of small portable recorders to be paired with DSLR or other cameras for lower budget or "one man band" type shoots. I'd love to hear people's opinions and experiences with recorders in this market. Specifically I am thinking of 3 recorders that are out right now: The Tascam DR-60D (which has a great thread started by Tom Duffy and a review by Ty Ford ), the Zoom H6 (which has a short discussion that is mostly negative ), and the Fostex DC-R302 (which has a great thread has some negative comments mixed in with small positive reviews). I guess I'll start with my thoughts and see where that takes us. This thread is for a decent, compact recorder to be used for OMB type purposes. I wouldn't put a budget cap on this, more a size cap/cam compatibility. I'd be willing to spend close to $1,500 if there were a very compact pro recorder that was easily paired with DSLRs. (I also preface all of this in saying I am primarily a DP/Op and in every single case I am able, I hire a sound professional to accompany me. This is for those other times.) I used to record with a Sound Devices 702 and it (for me) was an amazing, durable, very simple and intuitive recorder. I dream that SD would put out a mini-702 to pair with DSLRs, but I digress. My thoughts on... - Tascam DR-60D: I don't think it has the worst form factor, but definitely not great. I personally would never put this thing under my camera on a tripod (it is way too high and would make operating more difficult and would not be conducive to switching to handheld quickly.) If I imagine using this (or really any of these recorders) I would probably mount it behind camera on 15mm rods. It seems still a little tall here, but I could deal. I am most concerned with the "zipper effect" I've read about from adjusting trim while rolling. I would also love to hear more thoughts on this unit's pre-amps. - Zoom H6: I always hated (and thus never owned) a Zoom H4N. I thought they were frankly crap recorders that were not easy to use or effectively monitor levels. This recorder seems a step up, but still not really geared the same way towards using with a DSLR setup. I am very worried about the quality of the preamps on this guy. It also is a bit weird to use with a DSLR. I would probably take off the top console and mount it behind the camera on rods. This would actually lay flatter than the Tascam behind the camera, but the form factor is so weird that having cords run from 2 directions may be crappy. - Fostex DC-R302: My main concern here is the fact that it is the only recorder of the 3 that does not record 3 individual tracks for 3 mics. 3 channel mixer - 2 channel recorder. Since a semi-common scenario is 2 lavs & a boom, this is a problem. It is flatter than the Tascam, so I may debate actually putting it below camera, but it still seems a little heavy and big. The big question is are the pre-amps that much better than the Tascam & the H6 to warrant the price jump (almost double)? I'd love to hear anyone's thoughts on these recorders or definitely suggestions of other recorders that may work. This is a piece of gear that I absolutely need very soon, but seem pretty distressed with all of my options.
  9. SRB and d tap questions

    Hello friends, I have an SRB with all of the optional attachments, and I am about to build a d tap cable. Unfortunately, I am completely inexperienced with using a d tap to power anything. Does this connector exist on the camera or the battery? Should I expect that camera will be using d tap for something else and be prepared with some type of splitter? If it helps, I am preparing to connect to a Sony F5 which doesn't have the slot for an SRB. Related question: What if I am on a camera that has neither a slot nor a d tap option? Does anyone make an external power supply for the SRB to solve this?
  10. Thinking of buying some lighting

    I've been thinking about purchasing a small lighting kit- maybe an Arri kit, or/and some LED light panels- just a basic interview package. The plan being that if I'm hired as sound mixer on small ENG shoots I can offer these as extra equipment for rent. On these two man jobs I often end up helping the camera op set up lights anyway. I think could be useful especially to producers who fly in from out of town to do a few quick interviews and fly out right afterwards. I could offer a basic lighting package saving them from bringing heavy lights on the plane, or having to figure out getting lights from a local rental house. It might even save local producers time picking up lights the day before a shoot. I wouldn't want to get into anything complicated that would require a full G and E package. Even simple lighting is pretty expensive though, so before I decide to go down that path I thought I would ask if anyone else here has bought into purchasing lighting and has this been a worthwhile investment, or do you find that most of the time they end up sitting at home not making any money?
  11. Camera Hops

    Hey Guys, I have been reading a lot of previous threads about camera hops but couldn't find one with people who have been using 2xLMa for TX and an SRa for a hop. I understand the range difference is the main issue with the LMa only providing 50Mw of RF power. But for the price difference I would love to get some opinions from guys who are currently using this set up in the field and are you finding that the 50Mw is providing a reliable enough signal or are you finding yourself hugging you camera guy to avoid dropouts. Thanks in advance,
  12. Got thinking about it be soundslikejustin's post: "A timecode slate, if required, is the property and responsibility of the sound dept, but is used by the camera dept. A traditional clap slate (at least on the jobs i work on) is solely the responsibility of the camera dept. " Why is this? I my mind, if there is a piece of equipment that is used constantly by the camera department, it should be the camera department's. I realize that sound is responsible for timecode, but does that mean we should have to bring the camera dept a slate to use and abuse? I worked on a Union show where A slate was a rental and B slate was the sound mixer's. The AC's would bring the slates to the mixer at the top of the day (leaving them their if he was currently busy), and then retrieve them once they were jammed. This would again happen at lunch. Later in the day we head a giant sound which was obviously a slate dropping. We look and see it's the B slate as the AC picks it up. The mixer knows what's up, but the AC has the nerve to go and ask me to bring the slate to the mixer (I'm the Sound Utility) because the slate is "acting funny", not even admitting they dropped it, let alone apologizing. I just think that for my kit and my money, for me to spend $1200 plus on something that the Camera department uses exclusively, doesn't really feel responsible for, and doesn't actually get me any more sound capabilities (Wireless, etc.) then I don't see the benifit. If production wants a TC slate, they should add it to the camera rental like they do if they wants a B or C slate when the mixer already has one. Thoughts/opinion?
  13. LECTROSONICS D4 GAIN STAGING

    A few reports from users in the field on odd gain staging from the d4 into camera. Line level too quiet mic level too hot aes lines up quite nicely any thoughts? opinions? suggestions?
  14. Just saw the announcement for this release: http://microsites.lo...y.com/lomokino/ much more a fun camera than a pro. But I always like to see these 'new' retro-innovative concept. It's refreshing compare to the "watch, I got more pixel, better sensor than you" type attitude. 144 frames is pretty limited, but might force you to be creative on how to combine things. Synching this with sound is going to be tough though!
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