Jump to content

M Sisco

  • Content Count

  • Joined

  • Last visited

About M Sisco

  • Rank

Profile Information

  • Location
  • Interested in Sound for Picture
  • About
    Production Jack of all trades with a deep background in concert sound. Went back to school and finished a BA in Film in 2014. I've been freelancing in corporate video and indie films since. I am also the media director for a Detroit church, in charge of live sound, video production and producing weekly podcasts. I have a growing passion for location sound and am here to learn.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. M Sisco

    Ambient/Denecke timecode disparity

    Yes, that's what I've come to believe the issue is. There is no setting on the Denecke jog wheel for 23.98 or 29.97. Just the round numbers, which would account for the amount of drift occurring. We assumed when it arrived that 24 meant 23.98, but obviously not.
  2. The Denecke TS-2 that we rented for our production, set at 23.97fps, runs slower than the Ambient timeclock on my Sound Devices 744T, set at the same rate. Neither is in drop frame. Any suggestions to correct this without buying lock-its?
  3. M Sisco

    Delivering files from multiple recorders

    Unfortunately wave agent can't combine them to one poly file because the files created by the two machines don't have the same start/stop time. It's not the same as digitally linking two 700 series units. The 552 in auto-record records when it sees timecode moving from the 744T. That takes about .5 milliseconds to happen. I have to just re-name those files to match the 744T files. Hence the saving for an upgrade.
  4. I have to pick up a used reciever for an sqmv. Two affordable options available at the moment, for the same price, are the ucr401 (fixed antenna) and an LR. On paper I see pros and cons to each. Has anyone used both that would like to speak up?
  5. M Sisco

    Delivering files from multiple recorders

    True. Still saving for a 664. In the mean time I'm always looking for a better flow.
  6. I would like some suggestions. I currently use a 552 mixer, synced to a 744T for timecode. Generally I do my mix tracks in the 552 and my ISOs on the 744T. This works great because the mix tracks are already separated for the editor and can be joined if needed in post by timecode. It also sucks because there is no way to label shots inside the mixer, so I have to re-name all the mixer files to match the recorder files afterward, while generating the audio report in Wave Agent. Any one else deal with this? What is your process?
  7. I'll be mixing an indie feature this fall that takes place in indoor basketball courts for roughly half of the movie. Are there any reasonably micro budget suggestions to prepare for this?
  8. Thanks for the replies. Some silica gel is definitely a good order item. It did clear up a little from simply drying out. I learned that from the time I dropped the phone in the John. However I think some mishandling from the camera department was the culprit. Picked up a new 1/8" to XLRm cable and it came right back to life. Soundman mantra: check the cable first.
  9. I used a Sennheiser G3 wireless kit as a camera hop to a Canon C100 the other day. This was the second shoot for the unit on the camera. It rained. We covered the camera, but no one is perfect. It could have gotten some moisture where it shouldn't be. Everything appeared okay when I got home and checked the gear. Today I pulled the G3 out again and couldn't get a decent input level on the mixer. I took it home and tested it in my 552, then direct to a 744T and again with a DR100MK II. All of them had extmely low input levels and the signal sounded like it was on a high pass filter of at least 400Hz. I tested with two mics. Both the same. I reset both the transmitter and receiver to factory. Same. Any insight before I schedule a repair?