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About thenannymoh

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    audio tech, editor
  • Interested in Sound for Picture

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  1. Depending on the mixer, the "modified" mzf (newer version that works better with the 8060, as a result of Cinela feedback I think) may have a gentler slope than on your mixer.
  2. Wow Larry thanks so much for the great info
  3. Anyone else use the Remote Audio LifeBox? I have a 20c for my cart (it has a built in charger). Bought during COVID, I haven't put it to set use yet, but during tests I'm getting really wonky results. When not charging, the voltage indicator will visibly reduce every 10 seconds or so, even with no current. I'm assuming I have a lemon battery, but now wish I had bought PSC. Anyone else have issues with the Remote Audio LifeBox batteries?
  4. 8060 is more versatile. But I would buy the 50 first for mostly scripted work... I think you can 'cheat' your shotgun mics a bit more often with a less expensive mic (in a pinch...it's not ideal) but there is no faking your clean indoor dialogue. If i was doing more doc work, I'd buy the 8060 first. But as Karlsson said, going into any job with only 1 mic is a problem (and unprofessional IMHO).
  5. Ya I was thinking along the lines of a smart battery cup with a wire to an adaptor inside the slot
  6. Hello everyone! Has anyone created any kind of adapter for the audioroot/remoteaudio smart battery to be used in the internal NP-1 slot of the SL-6? The guy in the video below MacGyvered a solution (@ 09:36), but I was looking something less invasive (or negating a warranty). Thanks!
  7. Not directly... But it is a noted feature of my day rate. If camera department asks me to carry so much as a sharpie in it though, it all gets billed 😉
  8. Ram ProMaster 1500, low roof. I'm 5'8 (on my tippy toes), so the low roof works as I can stand up straight, which is important as I get older. Any taller, and the low roof model wouldn't work. My 6'4" boom op has to stoop alot, but he's young 😁 Pros: square shaped van, so more square footage than many of the others well thought out wiring, holes, etc for customization by the owner...basically, built to be modified need a divider for security and safety...getting the right divider is picky, and not cheap Cons: Only 2 people in the cab, but you can
  9. Has anyone found a configuration for the COSI that can fit a DPA4017b? I currently have the COSI-XL-8060 (long enough for the 8060 + MZ filter). I'd love to be able to just switch out mic plug holders into the same COSI for the 4017b, but I think the 4017 might be one inch too long to pull it off. Looking for experiences and ideas, because I absolutely love my COSI.
  10. Thanks everyone, problem fixed...on the camera, the inputs for timecode are lemo, and can serve multiple purposes. They have to be designated as timecode, but menu item to do this is not in the timecode menu lol.
  11. Hello all - anyone had success feeding timecode into a Z Cam e2 or newer F6, particularly with a Tentacle Sync? The camera guy has the necessary adapter that fits a bnc, but trying different Tentacles with multiple cables (all in perfect working order) hasn't caused the "external" menu item to become active (it stays grey, unchangeable). He has both the e2 and F6, neither are taking external timecode... The only constant here is the adapter he has, which is the leading culprit. But I wanted to hear other's experiences too.
  12. If you want to have something that pulls double duty, consider a wireless video feed like a Hollyland. If the production is monitoring the camera from another screen, you can tap into hdmi or SDI outs and feed yourself video (on your own monitor or WiFi with some models). The range is less, but on small jobs that isn't usually an issue. These are very useful on big jobs too. The SDI/hdmi feed will carry the audio that you are already hopping to the camera, so this return is a confidence feed back to you (I feed it into my last mixer channel from my own little monitor). This also gives aud
  13. My advice will be the opposite to most others...forget about it. Claim all expenses for your taxes against a loss for the amount you are owed, and then move on with your life. "By the time you see a dime, it won't be worth a nickle." This client is never paying you. Ever. Every calorie you spend worrying about it, or stewing, or contacting her, is energy lost on a paying project, one where you applied your tough lesson and used a contract and got money up front. And don't be sucked in by the rest of us who want this producer to be taught a lesson through a court a
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