Scott Selman

Cheers! Sent from my iPhone using Tapatalk

One of my AC friends asked me to post - anyone know what the battery tech is inside the Ambient Powerslot? Thanks!

I dont - my theatrical world is all Sennheiser, and I bought these tan 4061's as "extras" if I needed in my film kit. But now I have so many hardwired for my Lectro rigs that I was debating the cost of the adapters vs the hard wiring. And the ends get chopped off in the AM!

These would actually be for a theatrical use - so you are taking about what keeps me up at night Thanks!

This is what I fear... thanks!

Hi all - searched and couldn't find much on this. Have a pair of DPA 4061s w/ Microdot and I'm debating if I should get them changed over to hardwired connectors because I really only use them for one purpose. Has anyone had issues with the microdot adapters vs have a TA5 or 1/8" directly on the cable? All of my other 4061's are hardwired for TA5. Thanks!

Thanks Tony - please do!

Anyone have an issue with their Smart Mono Charger? Mine turns on, and displays the current battery info - and then just sits there. It goes through the motions on screen like it is charging - but none of the meters have changed, nor does the battery show its been charged. Any thoughts?

I did this with a OWC and it was very simple - just make yourself a boot USB stick to reload the OS. Just be careful because there is a sensor that attaches to the HDD. If it breaks then it can't tell temperature properly and the fan will run at full blast no matter what.

Wow - so why all the big deal with TC if I can just sync in Plural Eyes or Premiere using the audio track? What'd I spend all this money for Sent from my iPhone using Tapatalk

Thanks Philip!

Sorry if this is common sense, or something often talked about that I'm not searching for correctly, but I figured I'd just take a stab and see if I can get some opinions... I typically do a lot of post work for the short films that my company produces - just comes with the territory. In the past, not having a timecode recorder I would create new master video files after each shoot, creating files with the 2nd system audio built in with the video track - time consuming but it worked. Fast forward to now - I have a 664 and we shot on a Weapon and everything was in TC heaven... so now what?? I've been told the whole point is so that editors can take the camera files w/ the scratch track - do their edit - and then somehow in some audio software (probably ProTools) I can get an EDL or XML and it will magically put my TC audio files into the right place and add all the iso tracks - and all that good stuff... So how do I do that... I typically use Logic or Adobe Audition for my smaller mixing work - is this a ProTools only thing? I'm working with editors who use Premiere, not Avid.. Thanks for all your help in advance!!

But if I were to get a license that still doesn't give you the ability to work/own in the 700 Mhz range right?

So here is my real question - because I still see lots of 700Mhz gear for sale all the time. How many people (off the record) are using that frequency range still, and do you actually have any problems? I'm not looking to purchase myself into having issues, but as I slowly try to upgrade myself away from G3's - there is a good bit of used Lectro in the higher blocks that are really reasonable. I just don't want to make a mistake by buying them and never being able to get a clear signal. Thanks!

Thanks guys- exactly what I was looking for!!

Hey all, Im sure we probably have some post mixers on here as well. A director I'm working with in post right now asked us to build one of the "ringing in the ears" type of moments - that grows as the scene progresses and the actor loses sight of whats happening. Whats a good way to approach this? I thinking like a Saving Private Ryan on the beach - everything goes, kind of moment. Thanks!

Anyone using these? Any brands to look for or stay away from? Thanks!

Can anyone recommend a good AV company in LA for corporate events. A colleague of mine is producing an event and needs some Plasmas, Sound system and mics/headsets for the event. Thanks!

Thanks Tom - not only does this make a lot of sense - but I think it also helps answer my internal thoughts about why I would want to buy a 442 or something like that. I currently use a Tascam DR680 but I think that not only would I benefit from the amazing preamps and direct outs - but it would be great for single system shoots where I am just feeding the camera. I love this website!

Hello all, I've been learning a lot since finally finding this site - even bought a great shotgun mic earlier today from a member on the board and I even learned to use my real name!! Anyway - I hope to get slightly beaten around - but can someone tell me what you are mixing? And by that I mean - we have these great recorders that record iso tracks, we even have wireless that can record their own iso tracks - so with all the outboard mixers I'm seeing on your carts - and 788/664 add on units --- why? Is the goal for you to create the best two track mix for them to use in post and they'll only go to the iso tracks if needed? Is it just for the hop or IFB feeds - so everyone is getting the best possible sound in their ears? I guess since I am usually a one man band- booming while wearing my mixer I can do my gain adjustments but don't always concentrate on what the L/R mix sounds like. Thank you to Jeff and to all of you for this incredible resource - and I can't wait to learn and improve through osmosis!

Thanks Evan - what are you recording with?

Here's my question for those of you posting... I see a lot of bag with 3-4 wireless and the a 442 or a 552. Since Im assuming most of you are doing some pretty legit TV or film work - are you just mixing down to a stereo track? All this time I've been working off the assumption that I had to be able to supply discreet tracks - and haven't upgraded my Tascam DR680 to the SD633 yet just because of price - but if I could move to a 552 and be "normal" then I might be swayed sooner... thoughts?? Thanks!