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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. I'm not really into hardwired lavaliers. Needs more managing and baby sitting than six wireless. Just put the transmitters on the lowest power setting to reduce potential intermod and either sit in the same room with the receivers or run log periodic dipole antennas.
  2. Are you really plugged into the headphone port or into the x3/x4 port?
  3. I have no experience with anything under 512 MHz and I don’t shoot often in Rotterdam so I can’t give you a local scan but I can give you this link: https://www.microfoonbanden.nl/ If you type in Rotterdam (or any other city) in the search engine you will get a rough estimate of frequencies that are NOT already occupied by bigger RF spectrum users. This ofcouse doesn’t include wireless microphones etc. In my experience it’s not hard to fit 5-12 wireless channels in a small spectrum. I do need to remind you we have a maximum of 50 mW transmission in the UHF range and officially a smaller deviation (50 khz instead of US 75 kHz) of the signal. Not that I’m ever get checked about it but I run 25 mW Digital regardless with great succes (dense channel packing and great range)
  4. 1. Read the manuals. 2. select the right settings. 3. select the correct tc cable. 4. plug the cable in.
  5. 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)
  6. 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
  7. 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
  8. 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.
  9. 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)
  10. 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.
  11. 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.
  12. Check this vid at 3:25:
  13. 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
  14. 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.
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