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Frido Beck

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About Frido Beck

  • Rank
    Hero Member

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  • Location
    The Netherlands
  • Interested in Sound for Picture
  • About
    Location sound (ENG) and live broadcast

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  1. Frido Beck

    Sound Devices new firmware - w/ Auto Mute !!

    It's common practice to re-build all your preset settings from the new Factory Default (Menu -> Quick Setup) after each firmware update (otherwise you use a older firmware preset on a new firmware)
  2. Frido Beck

    Camera Hops

    Types of jobs you do: Commercial Productions (Corporate Video, Commercials, Branded Docs, Branded (Multicamera) Reality) Camera audio will be final or reference: Reference Mono/Stereo hop: Mono (Sennheiser EK100 or EK300 IEM both SMA modded with straight or RA antenna depending on the position on the camera) Most common cameras you work with: Sony FS7 TC: 3x Timecode Systems UltraSync ONE for on Cameras and 1x UltraSync ONE as TC transmitter. Zaxcom QRX235 sends Timecode to the Zaxcom Transmitters
  3. Frido Beck

    Camera Hops

    Yeah ok you're right on that 😛 the prices are weird though. A cantar is 4-5x the price of a 633. Should be €200 for a cantar or atleast 150. NB actually dropped the prices on wireless too... But i think were flooding this thread with a different subject now though
  4. Frido Beck

    Camera Hops

    There's so much gear we can't specifically charge for like special colored cables and an extra shockmount or new sound bag. The stuff that production actually feels in their workflow needs to be charged accordingly.
  5. Frido Beck

    Camera Hops

    Difference is that camera department rents it for their so called pretty pictures and we rent it for something that doesn't have to do anything with sound on set actually. But it's a service for the editorial department. I get €35 per timecode on camera and €30 for wireless timecode option here in Netherlands (wireless updating timecode for multicamera and commercial projects)
  6. Frido Beck

    Camera Hops

    Everyone their own business practice but I'm not renting my UltraSync ONE's for €4 a day. If they can pay for more camera's they can pay for more timecode on camera's and possible wireless reference tracks. And about the 'extra risk' - ofcourse if they destroy it it's on them but I'm not going to check everytime if there's a different scratch or spot on the gear and charge for that. Over time that all adds up but if it still works I can't put it on them personally. Some of My Sennheiser IEM's have scratches on them so lower resale value and just uglier to look at for me in general as the new looking one's. But they work perfectly. Am I going to charge them for that? No, that's why I charge €35 per IEM with headphone and rechargable batteries.
  7. Frido Beck

    Camera Hops

    No!!! They pay for "Timecode On Camera". They pay to sync easy and fast ("The Goal") It actually doesn't have to do anything with the timecode box itself ("The Method") It should be more - it doesn't have to do with the price of the timecode box itself. The service and extra work and extra risk (it's on a camera and not in your hands) that's why 1% works for a boompole (or less) but not for a timecode box or anything else that's given out to other people.
  8. Frido Beck

    Adjustable height cart

    Check this vid at 3:25:
  9. Frido Beck

    Show me your bag

    633, 4 channels of Zaxcom wireless (fully color coded from transmitter to receivers to cables to 633), K-Tek Stingray Small, Audioroot, Sennheiser SK100 for IFB and camera guide sends, Ultrasync ONE for timecode transmission
  10. Frido Beck

    Choosing boom pole

    Buy once cry once 😀
  11. Frido Beck

    Choosing boom pole

    I can understand. personally I don't like the Panamic detachable tips (or any other detachable tip on boompole that's specific to a certain model/manufactorer, I also have a really small PSC boompole that has its own specific detachable tip). I use a third party quick release. I love my Mini 53-5807.
  12. Frido Beck

    Choosing boom pole

    No I don't have work experience with Ambient boompoles. I just checked out the length the original poster has in mind (about 4 meters extended) so I mentioned another model that may be better suited for the needs mentioned. (narrative & documentary)
  13. Frido Beck

    Choosing boom pole

    Panamic is a great choise, but if you want to use it also for documentaries why go with a boompole that collapses to 1,50m? Thats fine on a cart but no so fine for docs. I have the Panamic Mini 53-5807 that's about the same extended length (4 meter) but is a 5-section instead of a 3-section so it collapses to 1 meter (2/3rds of the one your looking at) so more suitable for an all-round boompole IMO.
  14. Frido Beck

    Digital + Analog

    I know, but thanks for clarifying. I was just commenting on the choice or words not reflecting the actual things he was getting at (quote: "if digital and analog wireless in the same setup can work fine all together"). He rather should have asked whether it makes a difference if by going analogue line level or digital AES3 out of the receivers into the recorder. He is actually already using Digital and Analogue wireless together if I read correctly. I think the actual difference between the two transmission schemes affect the workflow and end result more than the last step of going line level or AES3 out of the receivers, particularly when using them together (frequency planning etc).
  15. Frido Beck

    Digital + Analog

    The Zaxcom wireless transmission is always 100% digital.