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  2. Black Friday & Cyber Monday Deals 2017

    Battery junction has a sale on lithium AAs.
  3. ISO's vs. Mix Track

    The only time I ever do a split mix now is if a show specifically requests a stereo hop on camera. Think doc, reality, sit down interview with an ENG cam, etc. I know that if they ask for two channels on camera they mean a two-track mix, split logically. Either boom and lavs or if you’re not booming then split the characters up (for example a reality scene). I think it boils down to whether or not they’re stuck in the old workflow from before we had multitrack recording in the bag. Anytime I’m working on something new where they haven’t established a workflow I always recommend monomix/isos with a mono scratch track on camera if anything. I’d rather sell them on an extra lockit rental than an SR receiver. Cameras are terrible with interference now it’s not worth the headache. Not to mention having to reinvent the wheel to find a place to put an SR on the rigs which are all different. I also think that if you’re monitoring a split mix you’re only doing basic QC on those tracks. You’re not hearing how they really sound. At least in my head they seem to blend in to something that is different from either track if you listen to them on their own. Just my opinion. If I am sending a split mix to camera for something like a sit down I’ll ususlly PFL the lav occasionally but just listen to the L mix track (boom). Life’s too short just listen to the better track.
  4. ISO's vs. Mix Track

    I still do a 2 track mix. 2 identical mono tracks because in commercials I'd often get a letter from the editor or assistant wondering where the other track was (not joking) in their NLE. The only reason I might do a 2 track mix with different info per track is a playback and record shot and I'd have music on one and singing on the other. They'd be in the ISO's, but.... Back to the OP, a mono of mix and mono ISO's is all you need. I believe a mix track is valuable to post so they can get going w the cut and worry about the mix after picture is locked. Many good "debates" w Hench and others about this topic in the way back files. CrewC
  5. Sometimes things slip through

    Problem is, with 3 cameras shooting wide tight and medium...it sometimes ends up the radios we're the only option... I always request the mics be mounted a bit lower to put some distance in the perspective given the f@#$&d situation of having to gather proper audio.. Things sounded better when we shot wides, mediums and proper close ups.. As for the wire in the shot.. who knows..may have been done on a regular job with a mixer in a bag with no monitor.. or, a few people were not paying attention, or both.. When discovered it was probably too late to mention sheepishly.. or wardrobe or talent may of yanked the mic off ...mixer may of never known.. I knew something was off and it took me a minute to see it.. 99 percent of anyone watching probably missed it too... We kinda look for that stuff though..
  6. Hello all. Here is a thread to share your SOUND RELATED Black Friday and Cyber Monday discoveries. Annnnnnd go! I will start with this gem to be announced: www.timecodesystems.com/get-updated
  7. Marantz PMD-706 Six Channel DSLR Recorder

    As you only need to access internal batteries/media once a day, this isn't a deal breaker to me. Four channels with the DR70D is sufficient for most low budget things, but having 6 is nice gravy on the top at the same sub $300 price! BTW, your Tascam does also do safety track recording levels as well.
  8. Looking Into Buying Zaxcom IFB

    I hear you on that, but my understanding of the ERX receivers is that they have built-in TC generators and that the TC that they send to the camera isn't transmitted, but generated by the ERX. They are, however, continuously re-jammed over their wireless connection. So if there's a dropout or whatever, the ERX TC output just keeps rolling along on its own. At least, that's what I gather. https://zaxcom.com/products/erx3tcd/ I could have this wrong, and I could also misunderstand your concern at least in terms of ERX TC for a hop (as opposed to IFB range). Am I totally missing something?
  9. Yesterday
  10. ISO's vs. Mix Track

    I agree with Mirror here, even though I know some still hold on to the antiquated boom left, lavs right "split tracks", practice. The only valid reason I can come up with for ever doing that is if post only has two tracks to deal with. Even then I would put the mono mix on 1 and the boom on 2, allowing post to use just the boom, or add more of the boom, or reduce the boom by inverting the phase and mixing it in. Unless recording actual left/right stereo, the concept of "left" and "right" is a way outdated approach for most production sync sound. Instead of "left" and "right", it makes much more sense to think of the tracks as 1 through 8 (or 12 or 16, or however many you use), and then label what goes on the tracks. Since the days of the 4-track Deva-2, mine have been MIX on 1, PREFADER ISO on remaining tracks. Though there are still some holdouts for one reason or another, the trend continues to move away from the "split track" practice.
  11. ISO's vs. Mix Track

    Maybe it's a reality show thing but I choose what to do before hand and mix based on experience, whether it's all booms, all radios or a combination of both. If the editors don't like my choices or find a line plays better on a lav, they can go to the ISO of that line. Easy to find since all tracks are labeled in the metadata. Been doing it almost 3 decades. No one's complained yet.
  12. ISO's vs. Mix Track

    Like @Rob Neidig, I've been burned too often (well, twice but still), by editors who leave my split mix panned hard left and right, that unless I know who is doing audio post and have a conversation with them beforehand, I will always mix in dual mono now and deliver that along with ISO's. Dual mono meaning that I mix in mono, and record it to both the L and R channels of the mix track, to dummy-proof the mix as much as possible. I do have a split headphone preset set up that I use quite frequently with boom on the left and lavs on the right. I do find that its easier to pinpoint something being off that way, even while mixing to mono. -Mike
  13. He doesn‘t know the frequency.
  14. If you know the frequency here are the blocks http://www.lectrosonics.com/Support/frequency-tables-switch-settings.html
  15. ISO's vs. Mix Track

    Listening to a split mix still allows you to evaluate background. What is more useful with split mix monitoring is to help to locate signal or clothing issues with lavs. mike
  16. #metoo and sexism in general

    Useful advice here on wiring etiquette. Being aware of potential misreadings is very important. My impression is that on set there is generally less sexism than in other work environments, that things are more balanced. And there are many strong women in the biz (such as our amazing Jan!) which scares predators who are usually cowards. Another story is generic, non-sexist asshole behavior on set, which we all have witnessed.
  17. K-Tek BOOMBOX Treat Yo'self

    Anyone else using this?
  18. Broadband RF power meter BSRF PM-1

    Hey, that looks pretty cool! I might definitely be interested in this. Let us know when it’s ready to ship in Europe
  19. Used Lectrosonics buying strategy

    The digital hybrid info and the compatibility mode reminder is very helpful. I'll search for more info with these terms. And for context, basic corporate and doc style is dominant usage, one or two tracks into a bagged (or, in a pinch, camera-mounted) SD MP6. Many thanks.
  20. Used Lectrosonics buying strategy

    UCR411a or SMb/c for the Rx which has a compatibility mode allowing it to be used with SM, 400, 200, and (I think) 100 series Tx. Then make you're choice on Tx. And make sure you get a lav compatible with your Tx, there's a servo/non-servo/universal compatibility to be aware of when picking up older Lectro gear. UM400a and newer Tx use a servo wiring. There are a few threads on the subject on the forum.
  21. Looking Into Buying Zaxcom IFB

    I am almost always working alone these days, although the job might be decently large and have a fair-sized crew, and a fair sized village. It is very possible that this village might not be all that close to the set all the time (ie we move setups but they stay put, even to some distance thru walls, say of a large house etc). I need wireless gear, esp. monitoring, that is as stable and dropout free as possible and can run all day on 1 battery w/o my intervention, even though I'm working out of a bag with a small 9v type TX. I stay fairly close to the camera usually, so big range isn't needed for the hop, and I'm from the school of thought that holds that jam-synced TC boxes are a way better camera TC solution than any form of transmitted code. But the Headset-Wearers can end up kind of where ever on, near, not so near etc the set and everywhere in between....
  22. ISO's vs. Mix Track

    Yes, there is an element of the 2 track Nagra days to it, and that's why I've seen a lot of young mixers sometimes forgoing a split mix, but having a split mix, as said above, to at least listen to can help in knowing what is going on with the boom and what is going on with the wires without having to start soloing tracks which is helpful on todays faster paced productions. Post tends to appreciate it as well (in my experience) because they can also tell very quickly if boom is good, if wires are good, and have to open up the ISOs far less often, most of the time just remixing from two tracks rather than however many ISOs you had running. Syncing isn't the issue, it's remixing the ISOs that will take the most work. ITS ALL ABOUT WORKFLOW - giving post options and knowing how we can deliver things to post in a way that keeps their lives as stress free as possible. And mixing from 2 tracks rather the 3 to X keeps them happy and helps in streamlining the workflow. And now that everything is digital it doesn't cost anything to do a split mix too, so why not? There are different ways of working, just do what is best for your workflow! I'm sure there as as meany reasons for as against.
  23. ISO's vs. Mix Track

    In this age of muliti-tracking and iso's, why in the world would you ever do split mixing??? Syncing has never been easier. Sounds like a through back to the 2 track DAT/Nagra days.
  24. Nagra repairs

    I'm about to tear a Nagra III apart to replace a failed motor (broken commutator). I wonder if anyone here has attempted such a replacement, and would be interested to know how that turned out. I know that the Nagra III Service manual has dire warnings about disconnecting the motor shaft from the encoder wheel. No doubt Kudelski's ghost will haunt me, but I cannot see that this would be impossible. I will of course be replacing belts and clutch felts as well, but the motor encoder system is my current main concern.
  25. Looking Into Buying Zaxcom IFB

    Hello, Well I just think of it this way. I only need 50 feet and if I got the other stuff and it would work 400 feet, that's just an extra 350 feet I have to haul around in the truck, and it's packed pretty tight already. Sincerely, Martin
  26. Used Lectrosonics buying strategy

    The biggest difference is the digital hybrid system. If you really want to follow through with your buy once/cry once paradigm then get at least a digital hybrid equipped system (400 series and onwards). The newer the systems get, the better they are, and it’s probably up to you to find the best compromise for you. But even the oldest digital hybrid system you can find will be significantly better than any older model.
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