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Everything posted by thenannymoh

  1. l think it differs from place to place. Note that the OP is in Canada, and I was making reference to experiences in major Canadian cities. I know of at least one mixer who fired up the wireless in an illegal block in Toronto, and was met within a few hours by someone telling him to shut it down.
  2. It isn't just about being fined or caught (which you will if working in a major city like the GTA)...you may not even get those blocks to work in many areas. If your entire range is bricked on the day you need them, you'll wish you spent the extra $ to get the legal blocks.
  3. Hello all - I have a 888 and a Audioroot K-art distro. The distro has Hirose and XLR4 power outputs. With the 888 (with SL2) power draw, is there any advantage of using the XLR4 vs the Hirose output from the K-art? Thanks!
  4. Shout out to the sound team working on Star Trek: Strange New Worlds. Alot of thought clearly went into the immersive aspects of the dialogue capture, with good boom work and lavs that sound open. Never took me out of the moment. I find myself taken out of immersion alot lately with lav-heavy scenes in other shows, this one has an old-school feel (in all the good ways).
  5. Hello hivemind - anyone else have challenges with SD-Remote not generating a pdf and not able to email a sound report from Android? Very specifically, the Samsung Galaxy S20 FE? On my older phone (S10+ it works great), but with this model I can't get it to generate. 80% chance its the phone and not the app that's the issue, but wondering if anyone else has a similar experience (and maybe even a solution). Thanks!
  6. I have that same distro on my cart...is your SL2 still attached, but you are running antenna to the DADM from the SL2 (front or side outs)?
  7. I was pretty happy to get my SL-2 to go along with the 888. But I've noticed much more RF hits and hyper-sensitivity to my LT hop transmitter (which rests outside the bag) with my SRc receivers in the slots. It triggers the yellow LED antenna load lights all the time, and creating audible hits at times. Odd...since my other bag is TINY with a MixPre3, the same LT hop and the same SRc unit/s in close quarters with zero problems. Same frequencies used. B1 for both the hop tx and the SRc units. Anyone else having issues like this with the SL-2? Thanks!
  8. Been using microdot adapters for years (always the DPA branded ones), have never once had a glitchy connection. Can't say the same for regular terminated lavs. The flexibility to use on different transmitter inputs is just too convenient to pass up.
  9. I use this exact plano case, its the perfect size...fits in my Orca OR-68 bag for the rest of the lav accessories
  10. Overall, a good article I think. I know it's a bit taboo here to discuss camera peeps doing their own sound, but on some gigs it is simply a budget reality. When my camera friends ask me how to up their sound game when they can't afford me (or when the circumstances dictate), the only thing that comes to mind that you touched upon is the sound recorder vs camera issue: a third option is to purchase an interface to do the heavy-lifting. The SD MixPre-D is a great example of such a device, where you get the granularity of pro audio controls, but not the added step of sync in post. They are great value for the $. For those who believe that helping camera people do their own sound is cutting off our noses to spite our faces, I've found it pays off over time. Those camera people, when successful, will more and more acquire gigs where they now understand their own sound limitation better, and will hire me for those gigs. If they never get better paying gigs in the end, my advice cost me nothing in the end anyways.
  11. I don't use a venue...I'm trying to import scan data from my RF Explorer (windows 10). I'm using Wireless Designer with the latest firmware. I'm sure I'm missing something obvious, but I can't seem to see my imported scan results from RF Explorer. I suspect my export settings aren't correct in RF Explorer (perhaps WD needs a specific csv field separator?). As you can see in the WD screenshot, the start/end frequency is showing as "0". Or is it another setting? Thanks!
  12. 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.
  13. Wow Larry thanks so much for the great info
  14. 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?
  15. 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).
  16. Ya I was thinking along the lines of a smart battery cup with a wire to an adaptor inside the slot
  17. 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!
  18. 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 😉
  19. 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 buy a double seat for the passenger so it could seat three, but you have to pay extra ProMasters are light on extras...no cruise control backup camera is waaaay up...you see wide, but not much detail
  20. 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.
  21. 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.
  22. 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.
  23. 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 audio on any video playback into any comteks/ifbs you've distributed.
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