Jim Rillie

Yes, but We haven’t done much longer than 11-12 hr days lately.

I know , but our last order for them resulted in the red square ones which don’t fit Comtek receivers. Same specs otherwise. They are so cheap I should just re order and specify the colour maybe ?

Our crews have given up on iPower Us because of early failure of the newer ones. We still have ones started in 2014 in use, but almost none of the brighter coloured higher rated ones we bought more recently. We thought we had found a reliable winner in the EBL blue ones, but they have been replaced at least on Amazon by red versions same capacity but square so they no longer fit Comtek Pr 216 receivers. I somehow doubt the ratings of some of the newer entries with 1300 mah ratings and question size due to USBc connectors on them, etc. Has anyone come up with a new reliable rechargeable battery that fits Comteks? Beat regards Jim Rillie

As Philip mentioned an optical flat plain glass “filter in front of the lens on the matte box also called B glass is essential, and a Barney for the mag as Doc sound guy memtioned. I used to offer up my leather jacket if camera had no Barney.

The title says it all.

So sorry to hear that, Jeff.

Sounds like 12v parallel. For 24v they would need to be in series.

I don’t think we have had Constantin’s issues with the K art. I am thinking the outputs are not regulated and anything works as if it was getting whatever the main batteries feeding the K art have voltage wise . Generally we used V lock Blueshape batteries with adapter plates cabled to the K art. Our K art Still works well, one of the on lights burned out. it’s nott in use theses days due to working with much smaller carts than we used to. Even our biggish cart doesnt need it with a PSC 12 pack which has lots of Dc distribution built in.

My headphone level is -27 normally with HD 25s on the mini, occasionally lower about -30. I think it is about the same on X3 but it’s a while since I needed the larger track count.

I am a Canadian Production Sound Mixer. The last feature documentary I did was in 2017/2018. ( I mostly do narrative Tv series) The rate which was a fair Canadian rate those days was about $450 euros per day including equipment. What you are being offered seems a bit low by today’s standards, considering the cost of living, maintaining and updating equipment , etc. now versus then., but within reason for a lower budget production.

Agreed. Sounds like race to the bottom. I have done this many times but it was for reasons like getting a performance from children, new actors who weren’t familiar with the process and may have clammed up if we used the usual professional filmmaking process - not because the director didn’t know what he/she was doing. From now on if I hear 50/50 …

My experience with QTake is pretty much the same as Patrick Farrell’s. I would rather create my own metadata than have to accept what works for some other dept. Another benefit of the QTake system our operator works with is the ability to send me a multi cam reference on one SDI cable - a more direct version than the wifi QTake feed for iPads with only the same latency as the Camera feeds. And PMC, Iam not familiar with “shooting 50/50. What does that mean?

I guess you could reverse twist the cable approximately the number of turns required and screw it in. Not ideal but probably workable.

Thanks for the reminder, Whitney, and thanks Jeff for managing JWsound it is important for all of us who can to support this unique website. The last bastion of intelligent and helpful discourse about production sound. Best regards, Jim Rillie geriatric PSM

I am interested in this question as well. As a Lectro and Wisy user, I have always tried to avoid the limiters on transmitters. (Yes, I know Lectro advises this is not the way), but it works for me. I prefer to limit later in the recording chain, if really necessary where I have live visual cues on the signal path, and of course better limiters, but maybe I am overly cautious.