Technical Reference
276 topics in this forum
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OK everyone. I'm off work and I have nothing to do but to read this board. And there's an epidemic of "What frequencies to use in......." -threads so I figured; why not make a Google Document Spreadsheet that ilsts all of these "OK" frequencies to use in different countries? We are legion on here, from all over the world so acquiring the info from locals wouldn't be that hard. Let's give it a try at least. This is the link for it. I contributed with Sweden. https://docs.google.com/a/tjockishjartafilm.se/spreadsheet/ccc?key=0AgnGQulSs_YrdFAwZGZ2LWVjRkRuY0owOEtHcHZqclE#gid=0 Anyone can edit or add information. You don't need a google account to edit If…
Last reply by LoganSound, -
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A quasi continuation from my other recent posts. The hits just keep coming; let's talk levels for a moment. I've gone through the audio for the first couple days and the levels are pretty low around -42 to -30db and occasionally peaking around -24db. This is occurring for both the boom and lavs. From my understanding the levels should be around -12db? I'm not just talking about Wide shots where the boom can't be near the actors either, the same thing is happening in Mediums and O/S, and it's not framed in some artistic way, the players heads are near the top of the frame, so the boom mic if placed properly should be giving a pretty strong signal and I imagine the l…
Last reply by Glen Trew, -
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...or at least we should know them, or learn them, as they keep coming up! for example, we keep getting asked about interference issues amongst transmi9tters and receivers: "Desensing or receiver desensitization: Desensing occurs when a transmitt er is operating in close, physical proximity to a receiver, even if that transmitter is not on or near the receiver’s operating frequency. Receiver desensitization occurs because receivers must maintain critical voltage and current levels throughout the frontend stages and a strong (i.e. physically close) transmitter can cause these levels to vary greatly. As these levels widely fluctuate, the receiver performance will…
Last reply by Wandering Ear, -
Does anyone has problems with delay...and I don't mean the FX version. I'm wondering why on the Sound Devices 744T anyone would need to necessarily delay the inputs. Of course there could be the very rare occurrence. But by the time you even notice a delay wreaking havoc on something isn't it too late? I'm assuming delay in the process does occasionally occur...but at what points have you found it to interfere. I can only imagine how long correcting a delay problem onset a run and gun style deal could take..."waiting on sound"
Last reply by Simon Hayter, -
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Hey all, I'm curious what mixdown levels most (post-production) sound mixers use with films, particularly short films. I vaguely remember from college that our outputs should be peaking around -10 or -12dBFS at the most. However I think this must vary a lot depending on the application of the film and more confusion is added on what is an acceptable loudness, since peaks do not define loudness. Furthermore I suspect these levels would be inclined differently for web purposes. I've done a few sound mixes in the past that clients were happy with, following the above rule, however recently I've received a request to basically get the mixes peaking as loud as poss…
Last reply by ccsnd, -
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Marc Wielage has kindly provided a .pdf of the telecine specifications and capabilities he presented at our union seminar awhile ago. There may be some updating required but for the meantime this is a valuable and instructive document regarding our evolving workflow. Regards, Jeff Wexler
Last reply by Jeff Wexler, -
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I'm doing an indie short film recording on a 702T this week. Just like to find out what is the acceptable range of levels on the recorder. My range was between -30 to -4dBu but it turn out soft when playback on the MacBook pro speaker.
Last reply by Marc Wielage, -
- 40 replies
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Greetings all: I've done way too much work with the Canon DSLRs lately. I'm certainly glad to be busy, but I'm getting a little weary of the endless technical issues. Here's the latest: Every shoot I've done with the cameras since the firmware upgrade last spring have synced just fine. No issues that I've ever been called on. When possible, I send at least one camera a reference audio feed, but I don't go to extreme lengths to do it. Every single shoot I've used 29.97ND or 23.976 TC. Every online reference just says 29.97. A client is experimenting with pulling actual time of day timecode from the cameras files, something to do with the Magic La…
Last reply by Actualsizeaudio, -
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Hello everyone, I've looked through the site and have found some very good info in regards to the setups used by many of you. I've looked at the Meon and PSC offerings and think the pricing is very high for what I need. From what I have gathered so far, I am looking for a 13.8v/10a regulated power supply, to float over a fully charged "xxmAhr" battery, and then out to some sort of 4-pin distro box and distribution method to get it to all the parts. My question is what are the favorite Power Supply's in use? Favorite batteries? And in regards to distribution boxes, what is necessary for this? Is it straight copper to copper for wiring, or do I need fuses, diodes, etc, …
Last reply by mikewest, -
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Hi All Wanting to find out if anyone has had a try at making their own UHF helical antennas. Thanks
Last reply by wolfvid, -
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- 34 replies
- 5.6k views
Just saw the price and frame rate specs on these... are they reliable enough to use as an on camera TC source? Please share any experiences.. housing looked plastic vs metal of Ambient and Denecke products...
Last reply by thepiasa, -
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- 34 replies
- 11.9k views
Hi all, Just curious what typical delay do you setup between boom and lav to avoid phasing. My lectro system creates a 3.6 ms so i delay my (cabled) boom channel +3.6ms on my nomad and pretty much leave it at that. What s your recipe do you play alot with it depending of the situation? Cheers!
Last reply by Arn, -
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- 6.3k views
hi guys, i m starting a project with a arri alexa camera and they want to run it at 24 frame rate. i record on a sound devices 744t. every project so far i did was 23.976. i presume that i should set my recorder at 24 as well. apparently post could deal with any frame rate choice but i rather run the optimal way, any toughts on that? thanks, Dominique
Last reply by Jim Gilchrist, -
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My 788t locked up during recording. I had to unplug it and take to battery out to shut it down and reboot. Has this happened to anyone else? Any clues why this happened? Thanks
Last reply by afewmoreyears, -
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- 32 replies
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Hi Guys, New on here and new enough to location recording I hope you can help me out here. At the weekend i was shooting a scene where the talent was almost whispering and eventually went onto screaming. Just wondering what the best way is to record this. Is it a case of setting low levels to avoid clipping or pull back the boom? Thanks
Last reply by jrd456, -
- 30 replies
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I have considered getting 1 Lav for a noisy location with a presenter direct to camera where the lav can be visible, perhaps a cardiod pattern lav but only if the presenter is directly addressing the camera without a sweeping arm gesture and head turn. After this week I am considering something else: I recently had to use the VT500 single lav in a supermarket using Lectro 411 unit. Background ambience faded way to the background much more so than many other lavs I've used. And later that day, two separate provided lav models on 2 talent on-camera together using Lectro 411 units. -A white Voice Technologies VT500 -Lav Mic which was for a broadcast TV talkshow segm…
Last reply by Constantin, -
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- 30 replies
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Newbie needs some help. Have been asked to hardwire 8 speakers. Scratch track to camera. Producer just informed me I need to also send mics to PA system. I have never used 788. Picking it up from rental house tomorrow. Is this possible? What's the best way.
Last reply by chris_bollard, -
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- 30 replies
- 14k views
Hey all, I've edited this topic as I think people are getting confused and answering the wrong thing. I've gotten early into the preproduction of an upcoming film on which I will be sound recordist. It is a great opportunity to do whatever I can before those rushy production days. One thing I told them to do is wash the wardrobe. This is based on information I acquired here in posts about reducing lavalier clothing noise at jwsoundgroup. They asked me if there were any specifics so I decided to ask you guys directly. I wanted to know if anyone knew anything about the following: -Whether they can be safely washed several times in a row (without drying until t…
Last reply by James Louis, -
- 28 replies
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SD_664_Ch5_NTG3_Noisy.wav I've just tried posting twice and both times somehow deleted all the text, so here's an ulltra brief run down of my issue: Channel 5 of my 664 is producing a weird noise, as heard in the attached sample. It is not cable or mic related as both have been switched out. It happens with both the 416 and Rode NTG3, and any cable. It is intermittent. I first heard it two days ago, about 4 hours into a corporate shoot- single boom, in channel 5. Noise would come and go. Usually immediately after buttoning on. I switched the cable out, the problem persisted, I switched 416 out to the NTG3 and the problem dissapeared. Next day I'm using the NTG3 on a…
Last reply by chriskellett, -
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- 26 replies
- 4.7k views
Hi all. I've got a documentary shoot coming up about languages. One scene will be a kitchen table discussion with numerous family members sitting around the table talking, unscripted. Production hasn't given me a number for how many participants will be at the table, and I'm not sure they'll know till shoot day. How would you mic this scenario if lavs weren't an option? I was wondering about hanging two cardioids from the ceiling and recording to separate channels, but feel like that's not necessarily the best option. Looking for recommendations. What say you?
Last reply by stacysound, -
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- 26 replies
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Hey all, I've searched all the usual suspects. Does anyone make a 1ru (or any rackmount size) 4-8 channel LINE LEVEL splitter with XLR ins and outs? I want it for redundancy recording to a second recorder on the cart. The closest I've found is either mic level only or with special phoenix connectors for the outputs. Best, Ben
Last reply by Bash, -
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I've outgrown my powerstation and and cant justify a meon or powermax right now. I also dont have the time or skill to craft anything so elegant as Phil(beautiful distro box from another thread). Peter at Gotham recommended i take a look at the Super Powergate http://www.westmountainradio.com/SuperPWRgate.htm It provides power from either a power supply or battery(switches to battery if there is a kickout) or can be set up to float a battery. It also has a staged battery charging system built in The other item i found on their site are their Rigrunner series http://www.westmountainradio.com/RIGrunner.htm It seems these would be great to use for distro. each outle…
Last reply by wolfvid, -
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I have been recruited by my kids' elementary school theatre director to help with their feedback problem... To start with, I have suggested they only use two of their four speakers, since volume is not an issue. Four speakers sending sound bouncing around the room seemed an obvious problem. This is a relatively small are, and is a multi-purpose room with linoleum floors. When it's full of people, the problem is less, of course, but they are having trouble rehearsing. I have angled the speaker so they are not pointed directly at the back wall. Their biggest problem is with their lavs. I installed a delay box between the mixer output and the amp, but it doesn't s…
Last reply by studiomprd, -
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Hi all, Did some search and couldn t come up with any suitable answer. Video monitoring creates a delay between sound and image that makes judging proper lipsync on music video challenging when looking at monitor. I ve used simple technique to guesstimate delay with a slate listening to my erx ifb but i d like to have a way to have a proper time measurement? Filming fs700 hdmi to hdmi to sony monitor guesstimate gives me around 80ms. Any ideas? Cheers!
Last reply by Philip Perkins, -
- 24 replies
- 5k views
I have a Tvc shoot this Sunday where the frame rate will be 33.33FPS. What is this? I usually record at 25 or 24 and I'm a bit stumped as to what to set my 744T to? I have never come across this framerate before and the 744 obviously has no setting for it. .. Would 25 on the 744 do and they will fix it post? Or better to change the FPS to something else? Thank you
Last reply by Tom Conen,
