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Tom Visser

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Everything posted by Tom Visser

  1. go with the 8060, you'll love it. lots of good mics, true, but 8060 sound great, as good as anything else out there, probably has the lowest noise floor of its competitors (could be wrong, but not aware of anything quieter), has a very sensitive output, so not too dependent on lots of preamp gain, which can be an additional source of noise, and is an RF condenser design, so good for humid applications.
  2. I don't think the Tascam will synch word clock from HDMI embedded timecode. I'm pretty sure it is just a timestamp like most other devices that read LTC without having Genlock capabilities. Also do cameras have genlock, or using cameras that have the unique ability to regen synch from the timecode source? (Arri for example). If not, then you basically have all devices free-running / drifting during takes and only the beginning of takes guaranteed to be timestamped accurately. I'm pretty sure that there is some combination of boxes that would work to get LTC from embedded HDMI. Probably looking at something that converts to HDMI to SDI and then some sort of LTC de-embedder from there. Wouldn't be cheap though, would be cheaper to buy or rent a different recorder quite frankly.
  3. Using wireless designer, can this unit also coordinate M2R channels? If so, would one do that from the built in scan or sync import scan from M2R? addressing the AES question again, for those that would need AES, I think that also means for the majority, that they wouldn't need Dante, so an AES module that entirely replaces the 2x RJ45 jacks for Dante would suffice for me. In order to use AES for cast channels though, I would either need to be able to remote control the transmitter in order to properly modulate the signal (like the two existing digital wireless companies, one from NJ and the other from Japan) or allow digital gain to be added in the box.
  4. digital mixer as in going digital input via Dante and analog mixer to analog XLR inputs? if so, might be hearing SRC working in the Dante DSP chip, which may be more limited and rudimentary than SRC done by more sophisticated processors. Try switching the digital sample rate if possible.
  5. I'm on FCPX, but I'm not am editor and just edit my own little projects. Once I started working on 4K and adding noise reduction, my maxed out retina 15" MBP just took a shit and became super slow to render. I think that I must invest in one of the eGPU options out there if I keep on working on similar projects. Blackmagic makes a fanless /noiseless unit with the Vega 54 GPU, which should help immensely with render times for minis and MBPs. By the way Philip, was discovering a little bit more about Chris Marker and discovered you were on post for one of the docs on him, was it a good doc and worth checking out?
  6. DWT transmitters are fully digital and are only compatible with the DWX receivers, which come in Sony slot format (have adapters available with battery shoe, headphone outputs, output connectors, AES...) or the rack units. Sound quality is very good and one of the few systems that offer full remote control over a secondary RF network.
  7. your experience parallels a lot of my own, learning from a lot of mistakes. this place is exactly for people like you, tapping into the knowledge of others to help steer you right, I know I've benefited much more from Jeff's gift than I've given. COS-11D are great. I'm also a big fan of Countryman B3... I feel like they are more rugged, or maybe I just am more apt to mistreat them and put them in harms way since they are a lot cheaper... from water, to rodeos, to dirt. Maybe B3s aren't quite as sweet as the COS-11D in general, but lavaliers really can't be rated on a scale of best. each mic has an application and sometimes I've gotten best results from an ancient beat up ECM-50 vs a pristine DPA.
  8. For your bag now, not going to diss the 6060 (one of my next purchases) or Schoeps, but there some valid reasons to go 416 or 416 + 50 and for mics, good to upgrade from stock, but COS-11 have some advantages in the trenches and are cheaper to boot. Some day when you graduate to higher end jobs and at least move past Sennheiser G, then consider the more top notch gear, but now balance will be perfectly served by more "standard" fare.
  9. I've never noticed this phenomenon nor had post ever bring up the subject to me, although I suspect it could have simply been missed, as most of my recordings with my VI were classical music or simple dialogue, where a minor slip could sneak by. I've always used pre-record on my VI, do you think that this could affect the file record start issue? So if pre-record were enabled that it would round to a nearest whole unit of time in the pre-record buffer? I've since replaced my VI with an X2, so it has sat unused for many years now (for sale if anyone interested), but I do miss the very flexible monitoring capabilities of the VI.
  10. WC not necessary, really anything, DB-9, BNC, TA3, TA5, existing XLR output switchable analog / digital, not a dealbreaker or anything, but digital outputs would be sweeter deal
  11. I love the digital hybrid backwards compatibility. Although a little heavy for 4 channels, once you take into account antenna and power distro, this is actually a very "baggable" solution too, not only cart use. Very interested!
  12. If anyone has a line of communication with Cinela, what might be smart is to sell this with a cable that is the special sennheiser 19mm thread on connector on both the mic side and exit side, that way a filter module and / or XLR module could be used outside of the rig.
  13. Shooting requires careful study and constant purposeful adjustments. The composition, sensitivities, iris, focus, and an open eye to what is happening outside of the frame. In fact, I’d say without working with a producer or director, you will often loose content because you are too “into the eyepiece” to see the big picture - or as a sound crew, I can often direct camera to shift attention to something or to get ready for something to happen. Recording sound also requires great attention and if not an understanding of acoustics, at least the practical experience of what will cause issues and field expedient solutions. You can certainly do both jobs well in easy environments, but as you face challenges your chances of doing both jobs competently dwindles very quickly and given that the quality for documentary footage (the image) has been raised and keeps going up, even your success as a single cameraman alone faces challenges. I’m getting off of a doc where they are using Optimos, fair amount of lighting, lots of negative fill, and really pushing the “cinema” aesthetic. My bit of advice, when you have a choice, choose quiet outdoor locations. If you are going to shoot inside, shoot in quiet good sounding (not reverberant) spaces. Your NTG3 will do just fine. If you can’t do this, then you need to hire a sound mixer or figure out how to deploy wireless mics really well. If you can’t do that, then put on a wide lens and put the camera in the face of the mouth movers and pray signal to noise ratio is adequate. Refusing to do all of this is knowingly missing the most important aspect of verbal storytelling, which is the story itself. If you instead just focusing on the supporting image it does not make you a documentarian, but a foolish guy with a camera. Be a master of the craft and work without compromise. I understand the solo artist thing - no criticism at all, but if you can’t succeed now with what you got, then focus perhaps on the non-verbal aspect of storytelling or shoot a sizzle to go sell the project to investors and get the resources you need to do it better.
  14. Its more just habit and past experience more than anything. I suppose I could change my recorder over to external clock reference. The source is the Cantar X2 which I've done drift tests in the past with up to 3 ACD-301 slates and it seemed to hold synch for at least 16 hours or so or the life of my batteries.
  15. with the new Lockit or Nano-Lockit, is there a workflow that allows a Lockit to be continuously jammed from an external timecode source and then in turn wirelessly keep other Lockits in synch? In the quick start guide for the Nano, method "2B" specifies synching from an external source. I was wondering if it just one time jams from that source or will the unit continuously jam from that source as long as connected
  16. not sure exactly what you mean by addition digital ins on word clock... the AES inputs are on DB25 and have SRC, so do not necessarily need to be locked to clock. You only have 8 recording tracks, period. What you can do is combine as many inputs as you want onto a recording track though, so you could for example record mic 1 and line 1 on track 1, then use the gain pots to mix the 2 inputs (or more) to a single recording track. The digital inputs can also be combined with analog inputs, but obviously there is no gain pot for the digital inputs, so gain can't be adjusted nor can they be muted on the Cantar while rolling. One thing to note, you do not have to assign the mix track to a record track for it to be active. So for example, you could assign digital 1 to 6 to tracks 1 to 6, then mic 1 to track 7 and mic 2 to track 8. The only problem is that you would never be able to bring tracks 7 and 8 into the mix unless you are using the Cantarem which has 8 faders (other than mixing with the trims). There are digital direct outputs of the first 6 recording tracks as well as an assignable digital output. For analog outputs there is a balanced output on XLR5 and a foldback output on unbalanced TA3. Any of the outputs, wether digital or analog, can be assigned to the mix output OR can be a matrix output of some sort (including inputs that are not being recorded, if you want a communications feed for example). So in this way you could record 8 ISOs, then send the output to a 2-track recorder to record the mix. In my case I have a Zaxcom IFB200 hooked up to the AES output and in this way could record 8 ISOs and deliver a separately recorded 2 channel mix if it was really necessary, but generally use the Cantar on jobs where 6 sources cover it. I own the Cantar, love it, don't want to replace it with anything else, but when it comes to the Cantar, I think logic dictates that I would never really recommend it to anyone else. You have to know why you want to use it and not be talked out of using it by common sense. From a value perspective, it just never really makes sense, unless you are getting a really good deal on it. I like that I can take it into the rain. I can honestly say it is the most reliable recorder I've used, beating out every Sound Devices or Zaxcom unit I've driven... not to say I think those are unreliable, just statistically, the % failure rate I've had with the Cantar is lower - but not zero. Shit happens, even to Cantar. I like that it is impossible to wash out the meters with sunlight. I mean literally impossible - you can try, but with the sun in our solar system on the planet earth, you can't do it, you'll blind yourself before the meters are not readable. I like that there is a menu system that allows lots of flexibility, but once your rolling, the things that you would want to adjust while rolling, are done with tactile buttons, faders, and pots. You can adjust this by touch and don't need to read a screen, unless you are adjusting limiter or filter parameters (or panning - panning in ENG/reality situations is not easy with Cantar - I do it myself, as I work a fair amount of unscripted, but you have to become adept at holding a boom pole, while pressing a button with a pinky, and then spinning an encoder with your other hand). Nothing with the Cantar was really designed with "plain logic". Shit is confusing sometimes. I still have to break out the manual occasionally when doing something I haven't done before or done in awhile. Its very "French" I guess, not being an expert on the French. I can say, though, after years of using it, that I develop a muscle memory and I personally find the operation very easy. Its just the first time you try to turn it on, you can't. you look at the manual, figure it out, then after practicing for awhile, it becomes second nature. Same thing goes with pretty much every other function of the unit. I would compare it to flying an airplane versus driving a car. The average person can't jump into a cockpit, figure out how to start the motor and do all the other pre-flight stuff - but after training and experience, you become expert on it, and if you need to do some sort of emergency maneuver, good training and experience will pay off. Pretty much anybody with any level of training can jump into any car and figure out how to get going. I'd say that is the Sound Devices approach. There's something to be said for that approach, but if you go Cantar, throw out any ideas of it being a "logical" journey. by the way, as far as updating for modern age, one thing I did was forget the idea of accessing the HDD via 6-pin firewire and replaced the internal HDD with a PATA CF card reader. I then put a 128GB SanDisk CF card in it, formatted for 120GB (Cantar won't recognize more). This has been 100% reliable for me and if I ever needed to replace with main volume, its just a card swap away. Sometimes when I need to backup content to my main storage RAID, I pull the main card and just use a card reader, rather than the antique firewire connection. I have also purchased an IDE to CFAST caddy. I haven't bother to try to install it, but the logic is that if there was some reason for me to go CFAST, I could - haven't seen that reason yet. DVDRAM is obviously worthless today. If you do buy a unit, make sure it has the CF removable media bay OR you know where to buy one... as that is the card you will deliver on a daily basis.
  17. There's no phantom on the Mini. Only does line level input.
  18. $100 for the first person that makes a riggable SR slot in box and dual slot NP-F battery charger. Let's make camera work for us for once.
  19. If they could add an M-S capsule into that “filter” too, I’d be interested.
  20. Is it too long because of the filter + XLR module? Rycote makes an 8000 to XLR pigtail. (sorry for the B&H link, first place to find a photo) Otherwise, Sennheiser makes MZL extension cables, unfortunately they are all way too long for practical use, but perhaps someone can make a custom shorter pigtail in which case you can remotely mount the filter a few inches away. Personally I've just relied on the filters in a transmitter or my hard wired preamps.
  21. I had Sean over at Media Blackout make me a custom dual cup version of his L-Series Wedge Plate. It has 15V regulation, P-Tap output, voltage meter, designed to sandwich in-between a mount and battery, but is quite a bit more expensive. https://mediablackout.net/collections/battery-eliminators/products/sony-np-f550-wedge-plate?variant=31982093132
  22. I've often referred to this chart when making decisions about filters for music recording purposes... http://www.independentrecording.net/irn/resources/freqchart/main_display.htm For purposes of IFB for film and television - not an issue. For purposes of IEM for musicians, not an issue either. If you are recording percussion instruments and planning on using this as a critical part of the signal chain, yes it will filter out harmonics and "air" - not part of the instrument sound itself, but some of the overtones that add to the sound in the end.
  23. I have not, but used to use the Quadra system which I’d expect to be ballpark.
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