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  3. I received my charger a few days ago, it's tiny! I was able to swap out two two-bay chargers and reclaim a heap of realestate in my charging case with this beauty. I'll try an upload more photo's with the charger installed. I'm very happy, Thanks Joppe!
  4. I run my TS-C in 'Auto'. Never had a problem when jamming from a Tentacle.
  5. The TS3 was before HD video/23.98. Denecke has an update (i believe) but I don't know which position they assign to it.
  6. digging this thread form the ages..on wich position should i set a TS 3 for 23,98?? jaming from a nomad or tentacles box. position 4 "Auto " seems to work but the dial seems pretty confusing to me since there is no 23,98 position... Thanks
  7. Yesterday
  8. In your situation I wouldn’t be taking notes. But sometimes I make a take at the end of the day called “notesT01” and verbally mention whatever needs to be said. That keeps you out of trouble if they suddenly expect a detailed report after the fact, and when it wasn’t possible to do so in the first place. Otherwise, my sound report is usually just so people can see the track names, and have my contact info in case they have any questions. Nobody has ever complained about that system.
  9. Not sure what you mean there, James - - I set the rotary switch on the side of the camera (with options of Mic/Line/AES) to LINE. Then in the display meters, set to "manual", lined up -20 with tone. On this particular job, the camera was locked off on sticks in a white syc for 3 days, so I just cabled up to it from the 888 and since I could, would check the return once in a while - and nothing changed in terms of settings... but either way - camera sound was just for reference / syncing purposes. We had a TC box on the camera, and also using TC Slate, so even if the on-camera sound would have been unusable, post should still be able to figure it out. I thought it was surprising that an Arri camera wouldn't take a "normal" professional line level signal, but had to be fed -10dB. And then this thread came up. And this was actually the first time in probably at least 3-4 years that I've seen an Amira on job.
  10. Got mine week ago...charming little device , regularly (ab)used on set. Dimmer would be nice addition, so it can be used on a dark set's . Cheers WrineX.
  11. Thanks @Johnny Karlsson That said, you picked the 8+ option, which is what I’m inclined to do. However, your answer does not resolve whether the newer audio board with the +24 option input level will hold its settings. Sounds like folks have gotten burned on here with the signal bumped up on the mix when the camera powers back on. And thankfully they are going double system. J
  12. From what I've experienced, a red dot lav will appear to add significantly more noise than a regular lav (10db?) I would guess that is why it sounds like the system had more noise. A red dot lav is for situations where you have a very loud sound source. My expectation would be that if you used a standard cos-11, you would be impressed. I've never noticed more noise floor on any of my Lectro systems VS a G2/3
  13. This is probably unrelated but I remember when the 664 first came out, I tried plugging G3 receivers into the mic inputs. I think when they were turned off, there would be just a crazy amount of white noise. Sound Devices went and did free upgrades on the inputs to deal with what I believe was an unbalanced connection coming in. I guess what I'm saying is, maybe it also has something to do with the Zoom's inputs.
  14. Not for me. The Lectrosonics is going back to the rental house today. It was a surprising and disappointing experience. It has left me confused. I think the best next step is to get together with someone that has a working system and listen to it. I'd really like to hear a Wisycom MCR54 system. Is there anybody in the San Francisco Bay area that would be willing to get together that has an MCR54? Regarding playing nice together, both the F8 and the 788T have the same input impedance, so I don't see that there would be an interface issue. The 411a output is balanced while the G3 output is unbalanced going into a balanced input so if anything, the 411a should play nicer.
  15. @Paul F and @Teom: any chance you can borrow or rent another recorder? You both are using F8s and having an issue, so I'd eliminate the Zoom as the problem. I'm not blaming the F8 (I use an F8n) but sometimes gear just doesn't play nicely together. When I worked in sound reinforcement we had an issue where Cadac mixing consoles refused to work with Earthworks mics; the mic was fine on another mixer and the Cadac input was fine with any other mic, but the combo just didn't work.
  16. https://www.nytimes.com/interactive/2021/09/21/arts/music/dominican-soundsystems.html#commentsContainer
  17. The two cameras that I use the most, the F55 and Amira are both 24 bit/48Khz. Even the much less expensive, but insanely popular Fs7 series cameras are 24/48. Although the original, and also insanely popular, C300 was 16/24. I’d say most modern, “real cameras” are all 24/48(some are even AES compatible) and no one should really have a problem using their audio tracks, especially at line level from the mixer and you don’t exceed the number of camera audio tracks that you can independently feed independent sources to from the mixer(i.e: you’re basically iso tracking in the camera, too, which is easy enough on things like interviews).
  18. I worked with an Amira last week. It looked “old” and well worn. After initial fiddling, I ended up sending -10 from the 888 and everything worked fine. I would say hardware/barrel pads only make sense if you are using a mixer with no other output options than full Line level. Maybe also with something like a 302 which is a bit of a project to change the output levels on.
  19. Well of course they are, because I just bought an 822 last month. Lol.
  20. Short of sending 2-Channel AES-EBU, the conclusion I'm arriving at is that the original +8 input signal on the AMIRA settings menu is still the way to go. My working assumption is that with a power-down on the camera, this is the default setting, and with the current firmware at the time of this thread, the setting will be inadvertently reset. Select 8+, then use the attenuated, consumer-level -10db, line output on your recorder. Has anyone else confirmed whether this problem has been resolved with an update to the +24 setting? Do you think a physical pad connector would do a better job than your mixer? I could pack them as well...
  21. The industry standard is still 24 bit 48k for audio. Most cameras still record 16/48, so many lower-end projects end up being a mix of the 2, plus whatever mongrel formats (mp4) the editor throws in.
  22. 24bit, always – 16 bit provides you with 96dB of dynamic range between the noise floor and 0dBFS. 24 bit provides you with 144dB. So yes, you're likely fitting all you need to in the 16bit word, you get so much more room in the 24bit file AND the post production workflow is standardized at that level. Yes, 32bit is more – but the post workflow isn't there yet
  23. I don’t recall if I’ve ever been asked (or told) specifically, but we’ve always handed over 48k/24bit files since I got my 664 back in ~2012.
  24. I didn't realise they're releasing an srd
  25. Hey All, Apologies if this has been covered elsewhere, I could only find a couple posts and they seemed about 15 years old! I've been recording in 48k 16bit as standard for film/tv stuff, but I'm just wondering if this is still the industry standard, or if I should be recording at 24bit? I'm not asking which is technically 'better', as we all know 24bit is the winner, I'm asking what bit depth do you record in? And what is the expected bit depth these days? Thank you all you lovely people!
  26. thanks for the suggestions guys! yes the TC is also triggering the record function on the mix pre, but the TC lag or duplication or whatever it is seems like a pretty lousey bug, it basically makes the function useless. SD should be able to fix that. i have an hdmi cable arriving today to see if i can trigger with that while the mixpre sends TOD TC to the camera, but its another (poor quality, lossy) cable that i dont want hanging out the back of the camera / mixer, if it was all locking connectors i wouldnt mind. i dont want the hassle of messing about with waveforms in post if i can avoid it (its the only work around at the moment as ive been recording a backup scratch audio on the camera itself) but im going to be shooting multi cam setups so TDO TC is the preferred way of syncing all the cameras (unless you guys have other suggestions?) im using the mix pre for the 32bit float, i actually have it mounted on rods with the pots facing me so i can sort of mix levels while filming (I am a feature doc filmmaker, often working in difficult / remote / dangerous situations) but the 32bit float means i can recover anything blown out etc. i also do sometimes have 2/3 lavs plus the shotgun. also mounted on the back actually helps with the balance of the camera as i have a heavy cine zoom lens on the front that makes it very front heavy otherwise! Just 1 dual RX hot shoe mounted feeding the mixpre, or i can change the bottom and make it a slot in
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