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rodpaul

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About rodpaul

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    Hero Member

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  • Location
    Atlanta
  • About
    Dir/Dp now brought into the audio side due to industry pressures
  • Interested in Sound for Picture
    Yes

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  1. I've spent a good bit of time in the Amazon rainforests (and boy, does it rain). 416 always worked. Better than I did.
  2. Make sure you have plenty of paperwork, in duplicates - they will want to know the value of what you're bringing - be creative. A good fixer can help you in customs. Note - Kenya has a list of approved fixers they allow, and they are very expensive. If you have any gear sent in (strongly recommend against this unless absolutely necessary, the airport is a zoo) make sure it is documented as "rental" not purchase as the duties are very high. Customs guys there google gear prices to make sure you're not putting one over on them. On your gear, make sure they know its very used... Other than terrib
  3. The Eagle Eye is nice because it has a removable rechargeable battery that lasts four hours and USB external power as well. The Hollyland deal is pretty nice - I don't know how many devices it will link to, but the biggest difference to me between it and the Eagle Eye & CineEye is size; the latter two are very small. Although I'm a DP, I find the video tools pretty useless and they can be removed easily .I prefer the iPad for monitor as the image is great, client friendly, and audio easily monitored, all without the receiver/battery/calibrated monitor required by TerraDeck. Nice to have so
  4. I believe the difference is that Cineeye has an internal battery only, and the Eagle Eye a removable one. Both feed up to four devices.
  5. I’m no expert on how Terradeck works, except it works well - someone usually sets it up, not me. Eagle Eye has its own WiFi network with a selection of channels to use. The advantage is that on smaller jobs you don’t need the Terradeck receiver, power, and powered monitor, and the iPad image is excellent and they usually run all day. I haven’t tested the latency, so can’t comment. Not much to lose on a small well made unit for $150.
  6. PFY Eagle Eye, compact, well made HDMI to iPad/iPhone, removable battery or USB charge/power, 300' range, nice image, easy to use. German co., but probably made in China. $149, hard to beat.
  7. Pelican Air cases do appear less sturdy, but I've shipped them maxed out with gear to several third world destinations and never had a problem - they're made from some new material that has flex but doesn't break. Pelican also has a partition system for them that helps make the most out of the space. I've got two of the Airs that are exactly the max allowed size for baggage which is handy, and I switch to run bags once unpacked. I've got a bad back and always look for anything lighter.
  8. If they can afford ADR to fix production recording, then why can't they pay for a boom op? Have they priced ADR?
  9. I must have gone to the wrong tab - I could have sworn this was an audio forum. As a DP and camera owner (no Reds now or ever), I concur that digital cinema cameras are not simply designed for recording audio - which is often integrated almost as an afterthought. In fact early digital cameras weren't great on time code either. I'm impressed with the knowledge most audio guys bring to shoots as I guess understanding the various models is a fact of life now. Note that Mr. Jannard came with a background in sunglasses, not film, which is probably why his designs excelled at sensor desi
  10. Had a BlackMagic recorder with mini BNCs and they malfunctioned or broke regularly. Not the kind of connector that belongs on a camera. I've got a Mozegear TIG28 which works great except for the lack of display. As a camera owner, I don't want more cables. The single Hirose on the Sony cameras are often used for start stop buttons on handgrips, making them unavailable for ext power. Just picked up the Betso TCX 2, which ticks all the boxes - nice display, one cable, long battery life and a simple AA batt which I have plenty of already. Looked at the UltraSync, which looked fine until I sa
  11. My F55 gets AES from my 633 just fine. This was enabled quite a few firmware levels ago. Haven't heard that complaint on any of the Sony boards.
  12. I've bought two of the big Pelican Airs. They are exactly the size of the largest cases most airlines will accept. Agree with the comment about flex, but I have traveled internationally several times with these filled to capacity and they did fine. The cases are made from a different material than the original Pelicans and presumably they are equally tough.
  13. I discovered the lack of limiters on 4 - 6 the hard way also, although it is explained clearly in the manual. Less intuitive is the location of the trim control for those inputs, however I have adjusted to using 1 - 3 for situations where the limiters may be needed - and they work well, and I'm very careful in the rare cases where 4 -6 are needed. I run the gain up on the Lectro transmitters as Larry F has suggested and find the limiters sound OK. I keep the mixer levels low enough on 4 - 6 to ensure there is no yellow ever with peak display, and it sounds fine. There are tradeoffs with all g
  14. Great cross to the 633 Dugan thread - having a decent track recorded in camera can help immensely, and the better the tracks sound in edit the easier client approval is. I would think this would also make final mix with the ISOs much easier. Speaking as a shooter, there is little to like about the collection of accessory gear now on digital cinema cameras, so frustration may actually be less with the mixer than at the operator's unhappiness at carrying more boxes. There is also a good time and a bad time to check code in the camera, like not right before a take - seems obvious, but it's h
  15. Thanks, guys, very helpful. Not sure about the implanted mics, sometimes I think people i see speaking on television lately have something more sinister implanted. But as long as there are lavs to be placed outside the body there will be a sound dept. Always in awe of the ingenuity I see to make them work, and despite my old school preference for the shotgun sound, I find my engineer in final mix often liking the lavs better.
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