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Jim Rillie

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Everything posted by Jim Rillie

  1. Sounds like Justin I think with Phantom power the positive voltage must be applied to both pins 2 and 3 of a condensor mic. Pin 1 is negative. Maybe that is the issue? T power is the one with + voltage only to one of the pins ... Maybe I'm over -simplifying Regards, Jim Rillie
  2. I would check with an accountant, but I think there is no need for a GST number unless you invoice more than 30000.00 in a year. Not sure of your situation, but this may apply. PST in Quebec, I don't know if you have to charge it or not. If you do include it, you will have to forward it to the appropriate tax authority at some point, usually quarterly. Regards, Jim Rillie Halifax PSM
  3. Jason is right. On an episodic TV show or feature, we change out the Imedion or black Eneloop NimH AAs at the 3hour mark - subs time in the morning, and at 3 hours in in the afternoon. Not a big deal for us, considering the hide ability and ruggedness of the MMs or SMa, SMVs. Regards, Jim Rillie
  4. Hey Pete Arri says 24dB, should not be worse than a red.probably much less noise. When a 35mm camera is really close like in a wide lens CU, you are gonna hear it, but we lived with it for years. Can be fixed in post, various methods. 2 perf these days. Regards, Jim Rillie
  5. Just got a Pelsue 6508A. I can't figure out the "snapping motion" on the top centre rubber disc to set it up. I'm vertically challenged at 5'7", so would an apple box be my friend? Maybe I'll find some of my locations buddies and get a training session! Just rambling, and it hasn't rained yet on this shoot, so no big rush. Regards, Jim Rillie
  6. Hi everyone, I have become addicted to scrolling sides on my iPad versus the old taping the sides together, etc for long scenes. However, as we all know these days, nothing is writ in stone. The scene often takes on a new shape with deleted lines, and added lines as the script is "honed" during rehearsals and last minute read-throughs on set. Is there an app out there that will let me edit the PDF of the script the way I used to do in pencil - cross out things, write cues in etc, but still be able to sort of see them when the actors revert to the as written version, which often does happen... We are a small market and I realize that, has anyone found something existing that would suffice? Regards, Jim Rillie
  7. Hi Daniel, I have worked with stabilized cameras. The "Perfect Horizon" system is not too noisy, especially if you are working with it at sea. The Mako system, in my experience was quite a bit noisier. These are expensive systems, and there may be much cheaper alternatives others out there like the Ronin which are quiet. Haven't used audio TC for years, so no comment there. Regards, Jim Rillie
  8. ​YMMV, but this goes against common RF practice. A whip needs a ground plane, which is normally the receiver case, a car roof etc. Dipoles sort of supply their own ground plane, therefore will work attached to a cable, as will a shark fin, or a Comtek phase right antenna. The senator would not approve of mounting a whip on the end of a cable with no ground plane, nor would I. Regards, Jim Rillie
  9. I noticed that Trew Audio still has the notice up on their website about Zaxcom wireless not being sold in Canada - I was looking up info on the Micplexer 2. Does anyone know if there has been any progress towards certification with Industry Canada since last year? Maybe the Harper government laid off all the people who could do it , as is their won't! Regards, Jim Rillie
  10. And I quote from the Sennheiser ad: "latency 19ms" That would be a nightmare to monitor on set;) Fear not! wi FI latency makes it a non-professional tool in my books. Anyone sucked in by this wouldn't be able (or choose to) hire a sound person anyway. Regards, Jim Rillie
  11. Looks like an Australian Drover's coat That would be oilcloth. Never had to deal with it in a costume, but i've seen plenty of this fabric behind camera (crew - my self included years back). There should be a way to nail down the fabric in the area the mic will be situated... Regards, jr
  12. Looks like the Schoeps plastic suspension as well. I still use one for plants at times on a table stand. Jim Rillie
  13. I looked at the Kentli website and discovered their rating for 1.5 volt is in milliwatt hours. On looking at their Q & A, they state that a milliwatt hour equals milliamps hours times voltage. I deduce that a 2800mWh battery (2800 divided by 1.5) actually has a capacity we are used to reading of 1867 mAh. not too impressive yet, but maybe manufacturing techniques will improve over time... Regards, Jim Rillie
  14. The best uncabled pole IMHO, is the Panamic Maxi -14ft, light weight and quiet, solid reasonably quick release system. My boom ops and I have always used uncabled poles for drama. Regards, Jim Rillie
  15. Is Lectro's website down again? I get "403 Forbidden" Regards, Jim Rillie
  16. Jeff's #9 post in this thread says it all. As has been discussed before the Sanken COS 11 when wired as 2 wire (as is the case for many transmitters) is reversed polarity to most other mics - booms or lavs. That is why I reverse the polarity on all my 400 series receivers when using Sanken COS11s. It is a permanent situation - doesn't change in different situations. So, whether by switching or adapting at your receiver outputs, the polarity should be correct. Your can hear the difference. Regards, Jim Rillie
  17. Hello Tom, I have been using the "C"option for years, after working it out with post on one project many years ago. That seems to be the standard for North American production with the Cantar. Anyone else doing it differently? This is for broadcast/cable TV final on long form drama shooting HD with TC at 23.976 ( or does the Cantar call it 23.98 - you know what I mean) , also earlier on some Panasonic camera shoots at 29.97. When we were shooting film up until last year, we went with 30FPS TC, and they did the pull downs in post as per the old ways. ( various networks) Best Regards, Jim Rillie
  18. Me, old school THe quick release starts on the boom. Panamic system works best and most reliably for me. Anything else than a Panamic boom, I add the adapter on the 3/8 thread - it stays there on my non- Panamix booms. Regards, Jim Rillie
  19. Hi Matt, Thanks for reaching out. Would love to see more concrete evidence. Here are my questions for now As a Cantar user I work with the sound report creation in the Cantar X1/2 by entering metadata with a PDA. Fast-ish by mid 2000s standards, concise, and correctable on the fly, or later. (no big keyboard with a tiny screen to read) Will there be some equivalent seamless interface? iPhone/iPad or whatever the platform. These little details will determine whether I upgrade. It makes a world of difference at the end of my TV series day, aside from the brilliant audio quality. There is a good few of us out there using this 10+ year old great sounding technology/artistry (yes there is another thread where this age of equipment was brought up. I for one use a lot of gear older than 10 years, and some much newer) - longest time with one recorder in my film sound experience. My other question would be will there be a new Cantarem reflecting the added tracks available on the native machine? Best regards, Jim Rillie
  20. I couldn't have put more succinctly, Philip +1
  21. I have been using a control surface (Cantarem) for about 4 years now, and love the weight loss, and ability to make the Cantar do a 7 to 1 mono mix, with 8 faders totally configurable to play with. For cart based production sound for TV series (what I do the most) this system works best. Fast simple, easily configurable, weather resistant, works with gloves on...etc. I lost a good few pounds off the cart when I stopped using my trusty AD149. First, I used the 6 faders on the Cantar, and didn't miss the AD 149 much. I purchased a Cantarem a year or two later and haven't looked back. Before multitrack, and going to DAT or Nagra, a good full featured mixer was a necessity for drama. My philosophy about my present workflow, works around the KISS principle, and keeping the weight down. Regards, Jim Rillie
  22. You are correct, Todd. The conversion I did was a long time ago and the devil is in the details! Jim
  23. I'm in late here, but have been following with interest. I did the conversion on my original CMC3s at least 20 years ago. No problems. Jump the resistor and voila a CMC 5 is born! One of them had to go back to the mothership for an unrelated issue a few years ago, and came back from the factory branded as a CMC 5! It's all good. Interested to know if CMC 4 (T power?) can also be converted... Best Regards, Jim Rillie
  24. Comtek receivers don't seem to have a good mute/squelch when transmitter is off (just my opinion) , and the Comtek users have their receivers and headphones on bust a lot. Loud splats can, and often do happen with a lot of my receivers when the TX is off. That is my crew's experience with all forms of the Comtek 216 Transmitters and receivers. I always notify people on headsets that it is time to remove them. Keeping the faders down between takes is the fallback we all should be doing for privacy anyway, but we all get caught now and then, I'm sure... Jim Rillie
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