Greg

Okay found it http://www.sounddevices.com/notes/recorders/changing-tc-battery/

Hello Chaps Im in need of a tutorial on how to change my internal AA battery in my 702T machine. Ive never attempted it before and wanted to research the procedure first. Are there any youtube or videos on JW that show this procedure ? Im led to believe that its not a complex task and that why Im feeling bold enough to open the machine myself. Many thanks Greg Albert #fromsouthafrica

Hi chaps I've got a shoot with the RED dragon, I'm using my G3 units to supply the camera with a reference. This is mainly so that the VTO operator can receive sound via SDI. My problem is that the mini jack input sensitivity needs a high gain from the receivers. I'm having to gain the tone until I get a somewhat squared off waveform or a squeal quality of tone out of the RC units, which I know is wrong and inherently will be traduced all the way to the director. Are there any gain structures on the camera that I'm over looking? The other workflow is to hard line to the VTO which i know will produce the better quality, but the VTO operator would like to work around the possible offsets for B camera when it's wireless. The question to this setup is if the sound is embedded and transferred through his transmitters for B cam is the theory that the sound would not need this offset? And ultimately what would be the deciding factor dealing with the offset on a PIX 240 for B cam or retain quality to the director, I feel the latter? Thanks

Thanks for all your input guys it's given me some useful guide lines to re think. Im using a CMIT 5U as my primary microphone. I guess I will have to look into the best cabling I can get here for those ATMOS tracks. I need to look for a good stereo microphone ! To run wireless on the boom for now I'm using a 302 to power the CMIT and transmitting it via a 400 series Lectro system. The return feed for TB is via a G3 system. I find that the boom op can give me more options on the front end and it works well for 2 way communication. But this could also be where I'm picking up so extra noise for dialogue ? I'm getting a CL8 + CL9 soon too so lets see if the dynamic operation improve. Thanks again All the best from Cape Town Greg

Hello fellow Sound Pros I'm looking for feedback on an idea I have. I thinking of getting a NEVE portico 5015 onto set because Im not happy with my SD 788T pre amps. I find the noise floor too high especially when doing quite ATMOS tracks in the AFRICAN bush. http://rupertneve.com/products/portico-5015/ The unit can run on 15 VDC, I can get a converter built to run from my BDS. It also has good RF rejection because of the transformer based electronics. But is it really a good idea for dialogue? I'm trying to get hold of a NEVE channel strip here in Cape Town but it's proven to be a difficult exercise . Is there too much coloration in the pre amp for film, and does it actually matter? most of the films done here in SA are either send back to the US or UK for post ( Where NEVE and SSL live in post ) or if it's local it is mixed using protools D command / control 24 / or some makie HUI controller and bussed / bounced using interanal plugins . I'm sure that Analogue tape used in the past had similar coloration aspects, and when used for film was very acceptable. Because I can't afford a Cooper / Sonosax that has all the range and sound, I thought that inserting a NEVE 5015 and bussing a 5033 before the 788T mic channels could 'give extra' to the sound quality. I can then have the choice between a CL8 or CL9 as a controller. I would love to be able to set up and increase my dynamic range to get the softer bits in performance while also 'grabbing' high transients when performances in the same take reach higher levels, with-out riding the front end gain and not feeling the compression. Thanks Greg Albert Cape Town .

hey Philip this is the one close to my house Cape town !

Thanks Mr Perkins It is my first shoot with the F3's and my gear check is only next week between reccies. Will a Time code fed comteck work with better with the Script E software ? This is what the scrip supervisor said : GREG: I will definitely be at the gear check thanks. I have also done an interesting test using the smart slate app from IPad. I let the time code run and held it up to my webcam whilst the software ScriptE was running. I entered the numbers and ran some test takes, and the time code logged and correlated to the smart slate app. So I am quite sure you will be able to sync up to the App on my Ipad or just directly into my laptop via the sound mini jack connector? We’ll test this out at the gear check too. I'm not too keen on all this apple app software arriving on set as a solution most of the time ! but I will have to roll with it an entertain other departments on the idea and gear check with it too.

Hi guys I've been a very proud mixer lately cause of my upgrade ( it's taken about 5 years ) so I thought that I would share it with you all. It's quite ironic, I'm importing allot of the gear from the States and re posting it back as pictures. I thought that you would like to see what i'm doing with it anyway. Cheers Greg This is my work bench This is how I'm thinking of running the cart for my next gig This is my old setup And this is a box I'm think of converting for those days one has to carry gear up mountains And this is that mountain

When in "Rec Run "/ Auto rec mode don't use any pre roll. Rather roll for a couple a seconds ( checking the code from the recorder and slate ) before shouting SPEED.

I'm starting a 6 week project with 2 F'3's. I'm using my 788t to jam the cameras and the script supervisors software "Script E". I read on the F3 manual that in rec run if the cards are changed the code has to be jammed again. So I'm going with free run TOD on the code. Also placing a G2 unit on each camera and splitting the 2 tracks on the camera with the internal mic and a scratch mix. Together with all of the reference I'm still gonna send an ID and pip after the clapper board. I think that is enough sync backup !

I agree with both the West and Europe, because every job has different requirements. It depends on the kind of sound the director would like for his picture.And at the end of the day it's up to the mixer to say whether he can or can't deliver 1 sound track in that "style" even if there are more than 3 Cams in the scene. I really really wanted a Sonosax 6 track recorder with the Mixer but could not afford it. So even though I don't need all 8 tracks I went with a Sound devices setup for the price and know it can still do the job. I find that with multicam there is always a moment where coverage is possible for a boom. I just make it very clear that "Mother Daughter shots" will compromise the sound track and throwing all the radio mics in the world at it won't solve the problem. Because sound perspective is very crucial and the audience need it to believe the story that they view in the Cinema is "real" I have been part of about 6/7 films where only the boom was used Just a thought Greg

I'm pretty sure that the G2/R units cannot be powered externerly. Jonathan are thos batteries true 1.5V? Cause most of those system are 1.2 that I found. - can you send me the address for that place in milnerton? Oh and just to let you know too my 788 still hasn't arrived! I feel that the sonosax maybe was the better choice. Oh well next year maybe.

I use politeness as the first step. Then when the request fall on deaf ears I ask for longer lenses cause a 2/3 feet with a super cardiod can help, and then if that does not work I approach the AD and say that I'm adding time to the day schedule for an FX run on the scene because the sound was compromised. by then carpets are down too with lavs and off micing the boom from the camera. Most of the time the AD will help to avoid overtime at the end of the day. The last step is to put reasons for bad sound in the reports and "walk away". Steady cam seems to get alot more of the attention any way.

I've used Wave agent for the past 3 years now. Not having the Cl1 controller I resorted to using "Short hand written notes" then edited it onto the metadata later. This process is annoying cause you have to always "go back" to apply edits and remember the full reasons for you comments. Now days I keep it simple. I write everything during the day by hand on carbon copies and slate a fare about of information on the takes too. And if the editor is lucky i will quickly process PDF's for timecode info or any other detailed meta data. I reckon if there is space for an Ipad then there is space for a sound report book. Plus the production pays for the books out of the consumable budget .

i have just completed a job with x2 5d's and a 7d. I used x3 G3 units with hot shoes for the camera mounts. A+B camera where on medium primes and C camera was on a longer lens most of the time. We recorded in double system mode. Most of the performance was not scripted and A+B camera handheld. I recommended that a clapper board be used with no stop starts within the rolls/ takes. a good ID and pip either @ start or end created enough elements to use for syncing the pictures. I even use this process on RED cameras. Also setting the code to time of day and have it appear on the PDF reports helps the offline "track" the rushes with the script supervisor's day log.

Good day chaps. Here in South Africa I use all the Lithium I can get from Europe and the states. I think that the efficiency you get in a days work out of the technology is valuable. Piece of mind is priceless ! I wanted to know if anyone has invented a AA version of the ipower yet ? I have 3 sets of g3 units that I currently use on HD cameras for scratch mixes or for IFB. thats 1 transmitter and 3 recievers. Thats 8 AA every +-6 hours. So on feature work my car, trolley and bags get polluted with used AA batteries. Is there a solution? I also have a IDX charger with 4 np1's and 3x Deep cycle 40amp hour marine batteries for the cart and about 12 ipower 9V batteries. All this keeps me going even if the turn around time/ charge time between shoot days become less than 8 hours. thanks Greg Albert From Cape Town

yip if we look at the time the photo was taken we can assume that the light would of been a bit tricky to boom in from the top. especially with that device, even if it's a straight 2 shot.

This is Africa !!

I came across this picture on Face Book. I'm not quite sure what to say about it, but thought I would share it will you all any way.

Thanks Michael I kinda understand the 'odds' and 'evens' in the math. But I'm happy at the moment with 24 / 48 on Commercials and films. One day I will explore new possibilities in higher sampling rates, but I think even 3D films will settle with the current sound formats from set. Do you know if we are to expect and changes on set sound because of the 3D / HD stuff in the near future ? Regards Greg

Thanks for the brief John your posts are really informative. I've just ordered 2 Lectrosonic units and should get them at the end of the month. I will test all the boundaries and different calibrations for sound quality then. Unfortunately in South Africa it's buy first ask questions later. When I switch the SD 702T to line input the EQ setting are not assemble on the recorder. the SD 302 mixer has either 80Hz or 120/150Hz I think, where the recorder has more frequencies and attenuation for those frequencies and more frequencies lower and higher, that I like having use of. But I have to set the output of the mixer to mic level It seems. And therefore find the calibration settings between the two units more involved. Unless I get into the manuals and find a proper setting to run line out and mic in ( unorthodox I would imagine). perhaps you could give me some pro's and cons to running a recording system like this at mic level. Regards Greg

You gotta love the math.. ! I record at 24bit 48khz on set, I asked some guys in post if the 88.2 range botherd them for dialogue. The said yes cause of syncing problems with visual. I have not researched the reason why yet, but I'm happy with 48Khz so far. With being a tracking engineer I believe in recording the best master to the highest possible spec for the job. This approach I believe gives more options in post if needed.

Hey Jonathan, how are things. I have a smaller type of playback and record shoot comming up but only for a scene within a film. It's only piano and vocals in the backround. What I'm doing is pre recoding the track in a studio and making playback tracks with timecode and lead in pips to tempo. I also have the singer on a ear wig and comtek induction loop, this way I can record the dialogue clean, cause the singer can mime to the track. By taking the timecode of the music as a master and using a deneke ts3 smartslate, the edit can conform easier with both pre recorder tracks and principle dialogue. Use a lap top with Nuendo / protools where you can have strict markers set for going through the shots in the scene. With having a DAW system you can also arrange pip counts easier and any other changes during the shoot. Phillip is also right.. get a shot list and work with the DOP to optain the wide and tight visual syncing issues. In theory I feel that you can only use one of the recording in the end, the location sound or the studio recording, one of them has to be a guide.

I've always used a cable to camera with a return feed. Sending a signal from one unit to another( mixer to camera / recorder) at Line level. The important thing for me is head room and signal to noise ratio. But what I also do is try and run the camera inputs at 'full ball' and gaffer tape them like that so there is no bumping of the input gain from the operator handling ( especially on smaller cameras). This way also it gives me all the headroom I need on the mixer( at my end of the chain). The only time I've use wireless is for guide tracks as I really feel that camera are built to record visuals and that the sound circuits are left to second best in the overall design of cameras. But anyway I run at line level with the only preamp (mic to line convertion) stage being on the mixer input. If I had to use the Lectros ( which I haven't before ) I would send a balanced feed on a cable to the camera for callabration and then add the lecrtos with those callabration setting as a start. Working back wards I would properly also 'whack' the RX unit as much as possible (but properly not as hot as the camera input) and leave the remaining headroom on the TX unit. I would also still record a backup on a real sound recorder ( 24bit) and use pip's if no timecode is possible ( like on the eX1) to sync with the camera ( maybe try and set the ABS code on both machines the same and free run the days work). The harder part for me is to go against what I mentioned about when I run from my 302 to my 702T. Running it at Line level would be my norm but then I miss out on all the EQ padding on the recorder and other option settings. So I find it harder to callabrate at mic level outputs from the 302 to my recorder. Any suggestions / tips ?

me in 2006