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13324

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Everything posted by 13324

  1. Over here: Looks like the thread continued for a bit explaining that you didn’t need Sync Studio to use Tentacle’s timecode, though I read “lack of Windows support” and stopped right there.
  2. Thanks for clearing that up, never saw the Timecode Tool until now.
  3. Are you talking about the setup software? I was talking about the syncing software itself. I’m probably misinformed, but I thought you specifically needed that software to be able to sync.
  4. As someone in the LocationSound community on reddit pointed out, Tentacle hasn’t released a Windows version of Tentacle Sync Studio. Have you encountered any issues with editors who run on Windows, or has that not been a concern?
  5. I could be wrong, but my logic has been that the interference tube slots should face left and right, since most noise would be coming from the sides when the mic is angled. In that position, the top of the mic just faces the sky/ceiling and the bottom faces the mount.
  6. Happy new year to you too, Crew.
  7. Sorry to confuse, I meant to use the word “interfere” in its more general definition.
  8. I’m not the author of the video, but I’d try posting a comment on the video.
  9. Curious as to what any Betso users think about this. If you can’t watch the video, Jim Keaney summed it up:
  10. @Curtis Judd just posted his review after spending two months with the 10T:
  11. So when jamming timecode on an Alexa and it’s still a second off, that’s actually because the camera is too far south from my recorder?
  12. 13324

    Net Neutrality

    Congress and lawsuits still have power to reverse the decision, not to mention lobbyists from the internet giants. You can still call your representatives and donate to Free Press’s FCC lawsuit fund.
  13. For the AO-1SILENT, but not the AO-1.5.
  14. Here’s that: All I know: Be very selective about work offers from people you don’t know. Word of mouth gets a lot of work, so having a good attitude on-set is as important as the recordings. As this forum and other mixers have taught me, always defend your rate from clients who try to lower it to where it’s completely unsustainable for your career and living. Price your kit rate based on what the rental houses and other mixers in your market are charging. I’m in the same beginning stages as you, and I’m slowly learning it takes a lot of patience in addition to good work ethic to survive. We’ll get there!
  15. I’m not in your area, but $250 CAD (~$200 USD) for labor and kit is pretty low even in my small market. In an expensive city like Toronto that’s definitely not good. They’re offering that much and expecting three sets of wireless and timecode?
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  17. Looking through the manual as a DR-70D user – very slight improvements over the DR-70D. Without hearing the preamps yet, I’d say the SD card slot on the side is best part, and the menu system, mix track, and gang control abilities also look nice. Good to see knobs designed for better leverage when fine-tuning. Only thing I dislike is the headphone out and volume control – when this is in a bag, they’re on the furthest part of the right panel. Wondering why they included encryption. For clients who don’t pay?
  18. Still a pretty low price for an aluminum frame, room for six receivers, and a thought-out design. My smaller Sachtler SN607 is $35 USD more expensive.
  19. Just came across these new Portabrace bags. The AO-1SILENT (“lightweight” model) and AO-1.5SILENT look the same from the front, plus here’s the latter from the top: Video demo: Images from their newsletter announcement: PR copy excerpt:
  20. As someone starting out whose primary is a Tascam, I’m surprised to hear of a 633 owner being happy with a 701D. How’s the timecode on that thing treating you?
  21. I’m listening to Jeff Wexler (hi Jeff!) on Matt Price’s podcast where he mentions busting the frame with booms and digital boom removal, something done on House of Cards and a number of other productions nowadays. I’m not yet on a lot of productions where frequently painting out booms is cheap enough, but I want to start pitching it to directors in pre-production, for occasional shots that absolutely need closer booming (quiet dialogue, reverb-y film sets) and allow for boom removal (stationary camera). When shooting scripted narrative, how often do you take opportunities to bust the frame? How happy are you and your directors with the results? Any caveats?
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  24. The Sony FS7 is, from what I’ve heard, weather sealed. I’ve also heard good things about the durability of Sony Alpha cameras. The a9 has dust/moisture sealing, though Sony doesn’t 100% guarantee that it’s a complete seal. I know choosing to work with Canon DSLRs is a filmmaking faux pas these days, but the EOS-1D C is “fully sealed” for dust and moisture.
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