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Lancashire soundie

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Everything posted by Lancashire soundie

  1. That isn't enough money. I'm not being elitist, it's just the truth.
  2. > Roger and I are to be testing s few new toys We will, of course, be expecting to hear about these toys
  3. Just arrived. AES output cable (with analogue return) from my Nomad, and a lightweight set of camera tails for wobblycam operators:
  4. I've just ordered some AES cables for my Nomad, from this guy: http://locationsoundcables.com/ So I think a bit of homework will be required for my next F5/55 shoot...
  5. I did my first shoot on one of these today. A few things to note: 1) There's some kind of internal level setting, from 0 to 99, that seems to override the pots on the side. Presumably it's so the operator can fiddle with levels with his thumb (I didn't have time to check). You can disable it in the audio input menu, from memory it's something like "LVL + SIDE 1" and "LVL + SIDE 2". I switched it to SIDE 1 and 2 only (this disables the level control). 2) As with the F5 and F55, it forgets if the headphones are mono or stereo. So you have to go back into the menu and change it from one to the other to get it to "remember". 3) I couldn't find a timecode socket, I think this comes on some kind of extension accessory. It's a nice little camera though, more or less the same menu setup as the F5/F55 (no screen on the side though). The XLR sockets are in a decent position, although the headphone socket has once again been placed entirely randomly, somewhere around the back on the opposite side.
  6. I'd like a device that gives the cameraman a painful electric shock when he carries the camera at the end of his lowered arm, rather than on his shoulder. I hate stepping on cables
  7. I would like Zaxcom to add the ability to view/control their equipment over wifi using a smartphone or tablet.
  8. Just put him on ignore. As for the timecode, just make sure you speak to the edit suite and explain your experiences.
  9. Well looking at the prices it's like saying a Bentley Continental GT is an alternative to a Ford Mondeo...
  10. I was filming at Manchester City's new training ground the other day, and in their press conference room (more like a small cinema really), in place of the usual lectern mics they'd installed quite a few of these. http://europe.beyerdynamic.com/shop/mpr-210-b-1.html I just wondered if anyone here had used them and if so, what they thought of them? I have a feeling that I could make use of one now and again.
  11. The SWIT batteries have a capacity indicator on them. To be honest, I don't think I've ever fully drained an NP-1 during a single 10-hour-day's filming, so I wouldn't worry too much.
  12. ljrg, for reference I have a HD-P2 in a cupboard and used it a few times before I bought my Nomad. The unit I have runs just fine off the 16V (max) my NP1 provided.
  13. For NP-1 batteries get SWIT, they're cheap and work well. I've had them for years, absolutely no issues. http://www.proav.co.uk/swit/cameras-accessories/batteries-power/np-1-style-batteries-chargers The HD-P2 has an awkward power socket that is prone to the plug coming loose. Certainly the plug will stick out when in your bag. I suggest you open it up and replace the socket with a flying lead terminating in a Hirose socket. Make sure whatever NP-1 shoe you get has plenty of Hirose outputs so you can power a variety of devices. You should also invest in a Hirose extension cable, in case the cable from the shoe becomes damaged. That way, you can simply power your mixer from one of the sockets. One last thing - the HD-P2 can be a noisy thing. If you're powering multiple devices from the same battery you may experience faint digital noise across your mixer's input. Certainly that's what I found when it was connected to my SQN.
  14. They're ok but are no match for Lectrosonics. I've used them all across Europe, in Canada, Turkey and Argentina. For the most part they've held up very well, but the range is easily less than half that of the SRb. Also, I never figured out how to simply move up and down through the band - it comes programmed with a load of presets. I prefer selecting frequencies via the former method.
  15. I'd love some kind of large clip on plastic cover to go across the entire fascia of my Nomad, for use during transport. It could clip onto the rails at either end of the mixer and protect the device from scratches and bangs while in the boot of my car.
  16. I've been using a 415T on a job for the past two years. I would put money on absolutely nobody ever being able to tell. Audio gear doesn't face the upgrade pressure that video gear sees.
  17. James drop me a line if you're ever around Manchester, we can compare kit to see if there's something wrong with your setup. All I can say is that I've never really had range issues with the SR and Nomad.
  18. I've done it loads of times, SMa in the presenter's front pocket behind one corner flag, me and camera on the opposite end of the pitch. The SRb is slightly better than the SRa but they both get at least half strength signal. Here's a typical example: https://www.youtube.com/watch?v=Os8QFt9H9Ro#t=233
  19. My Lectro SRa and SRb will easily receive a transmitter at 50mW across the length of a UK football stadium. Although that's an empty stadium, I get the feeling that a full stadium would be much more problematic.
  20. Perhaps you should consider educating your clients on the same economic realities. If they want decent sound, tell them they have to pay for it. Anyway, if I were you I'd just buy a second hand SQN and a couple of those Zoom recorders.
  21. There's no moisture anywhere, everything is nice and dry. Because of this fault, I haven't used it in months.
  22. I have just finished an Amira shoot and had to do the same on my Nomad. While I recorded everything locally anyway (just in case), I also set my output limiters so the camera never went over. I think I'm going to have an AES loom made up, I do enough work on the F5/55 anyway so it'll come in handy.
  23. Erm, but it is your problem. Not your responsibility, for sure, but most certainly your problem. And in my experience, anyone who says "not my problem" on location tends not to be re-hired. At least by recording the timecode on a spare audio track you're offering production a viable workaround for something they may be unable to fix themselves.
  24. This is one of my Tram TR50s that's decided to go mental. The fault is intermittent. The mic is plugged into a Lectro SMQV that I know works just fine (all the other Trams are ok). I wonder if anyone here has heard a similar problem and if they could advise if they think the microphone is toast, or if it may be a problem in the connector? It doesn't appear to be a bad connection. The fault is also intermittent - this was recorded after it had been left alone for several months. The microphone is only 18 months old, so I'm going to push for a replacement. The recording contains some handling noise, in case it isn't apparent, it's the continuous (but variable in level) static that's the issue. faulty tram 2.mp3
  25. It's pretty simple to replace the battery, I did it last week. If you've ever built a PC you'll be fine. Just remove all the screws top and bottom, and the screws around the XLR input panel (but not the sockets). Some of the screws are longer than others. Slide the unit out of it's case, gently lift the XLR panel up at the back and you'll see the battery. There may be a rubber foot at the side, to stop it falling out. Slide the battery out, replace, rebuild. It shouldn't take you more than 30 minutes. On mine, some of the screws appeared to have threadlock on them.
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