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Frido Beck

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Everything posted by Frido Beck

  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.
  16. Haha that's even less in numbers!
  17. Well I don't know what your soldering skills are but once upon a time (5 months ago) I thought I could do the sma mod myself on an SK100 tx and destroyed a small component with my soldering iron next to the antenna connection and after that I barely had 3 centimeters of range 😪 lesson learned
  18. Frido Beck

    Zaxcom ZMT3 Hiss

    Understood. I'm going to demo the TRX743 when available and I hope that fits my needs, next to my existing five zaxcom channels for lavaliers
  19. Frido Beck

    Zaxcom ZMT3 Hiss

    Next week I'm comparing with a colleague the ZMT3 PH 2 vs his Audio LTD A10 both with Schoeps CMC6 MK41's. If the noisefloor is similar on both systems I'm probably gonna accept it and buying it. On locations with some ambient sound it isn't really distinguichable anyway. I do feel the actual sound quality and frequency response is better on the ZMT3 PH versus the TRXLA setup with external phantom power box. and ZMT3 PH 2 is just so much easier to use on a boom
  20. Frido Beck

    Zaxcom ZMT3 Hiss

    The relative noisefloor is the same if I use lavalier mics (Sanken COS11 ) but with them I usally set gain at 15-25 and I need more for my phantom microphones (30-40) to get proper levels. So more gain = more noise obviously. So I guess I just need to shoot in locations that have a bit of background noise :). Instead of a rather silent room like this. I've had great results with the Sankens on my 5 channels of Zaxcom but I need to adapt my ears to the noise on the Schoeps through a transmitter. The benefit (why I want it ofcourse) it obviously being wireless from the cart. So I have to weight that in versus the noisefloor. I just hoped that the ZMT3 PH 2 would sound better as my UMP II + TRXLA2...
  21. Frido Beck

    Zaxcom ZMT3 Hiss

    Got a demo ZMT3 Phantom 2 today for comparison with my Ambient UMP II + TRXLA2 setup. I'm a bit underwhelmed... Or maybe something is wrong with my setup. I hoped that the TRXLA2 being a unbalanced input and extra 3 v into the ambient was the problem for the noise but for me they are too damn close noise wise. I know mic position in this vid is not good but they are the same though. Did a video with Schoeps CMC6 MK41 into the Phantom 2 and CCM41 into the UMP II / TRXLA2. I switch on random moments between the audio tracks: Here is the original audio file: https://drive.google.com/open?id=1TWYZsmxrSG6BL6Fg30wAoyIwDUQuQI0a For the video I inverted the phase on the second track and normalized them both to peaks at 0 for easy comparison: https://drive.google.com/open?id=1zGzTaUQ0CxMQYPMUl9d-lHUIBzhIoPaz I hope you can understand my horrible version of the English Language (Not a native speaker)
  22. Frido Beck

    Zaxcom RX200 and TRX743 stereo

    Yeah, for remote control you either need a Zaxcom Recorder with Zaxnet transmitter, a QRX100 or QRX235 both with optional QIFB (Zaxnet) board, or an IFB transmitter like IFB100/200. I have a non zaxcom recorder and zaxcom wireless so I use a QRX235/QIFB board and on the cart a RFVenue CPBeam 2.4 GHz antenna
  23. Frido Beck

    Zaxcom RX200 and TRX743 stereo

    Call me old fashioned but if it's for atmo without dialogue on it why not roll a portable recorder for those microphones. That way you have way more material that documents the atmosferics thoughout the day instead of 100 short takes of random moments. You could surely use the TRX743 for this and get a Receiver with IFB option or an IFB200 and a directional 2.4 GHz antenna to remote roll/stop/change gain on its own. If you disable the RF transmission on the TRX743 you get way longer batterylife too but you can still control its functions remotely. Maybe roll each scene instead of only each take if you don't want to roll all day
  24. Frido Beck

    Zaxcom ZMT3 Hiss

    I have a similar setup, Schoeps CMC6 MK41/CCM41 into Ambient UMP II and then into a TRXLA2. The noisefloor is rather high but I don't have a TRX743 or ZMT3 Phantom to compare it with how it should sound. In my mind the ZMT3 Phantom of a colleague I demo'd sounded really good but I don't have any recordings myself. I think I just should pull the trigger on a Phantom 2 and use the TRXLA2 for lavs and keep the UMP II just for backup phantom powering for my recorder or eventually second wireless boom if needed. Problem is, the CCM41 picked up some audible interference of the transmitter directly cabled to it (the Phantom I demo'd)
  25. Frido Beck

    Walkie interference with PSC RF Six Packs

    Which freqs are the walkies transmitting on and do you RF band pass before going into the Six Pack? I see the bandwidth of the six pack is 470Mhz to 870Mhz, rather wide.
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