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About PCMsoundie

  • Birthday 01/01/1

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    New York, NY
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    website: https://www.imdb.com/name/nm0586599/
  • Interested in Sound for Picture

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  1. https://www.newscientist.com/article/2287973-sneaky-us-navy-feedback-device-could-stop-people-being-able-to-speak/ patent filed in 2019 a better photo is here. I knew when I used a Nagra IV and had it monitoring off the playback head if I tried to slate a scene or a head of a new roll I couldn't concentrate. A real non-leathal weapon.
  2. It's been a while for a thread on Genlock. Actual camera sync (not just timecode identification on frame1 in the XMP metadata of a file) Sure 1. live video switching needs Genlock, 2. 3D camera rigs -- cameras need Genlocked for in phase shutter and timecode sync. 3. shooting concerts, all-day corporate conferences, or long form documentaries with takes being 1-2 hours before media change means multicameras need to stay in sync and not drift. Other than the old RED camera issues and ANYTHING older than 2011.... When you've done a shoot with 2 or more cameras with very long takes. Were there any very productive conversations in pre-production that ended up in production requiring and agreeing to using a Sync Gen? Yes Genlock can interfere with the shutter and scanning processes of cameras and that's why I am asking since it involves Sound/Camera/Post. Have production wanted to do a test with 3-cameras with Sync Gen and long takes during prepro when shooting longer than 40 min. takes? Have any of you got the dreaded call from post about camera drift even though you know you have a great sound recorder with high accuracy? How did that go? Were you blamed because 1 or 2 cameras out of 5 were not in sync? With new smaller lighter TC boxes have Genlock such as Timecode Systems UltraSync ONE with a temperature controlled XO it is going to be more accurate than a camera itself. I started using daisy-chaining 2 cameras on non-stopdown 2 hour sit-down interviews so they would both stay in sync. I was also feeding them both TC. Then I started using a AJA GEN10. I have found the GEN10 was very specific for PsF vs P settings for certain cameras before they would see it and lock. For most modern cameras that have GENLOCK IN have some of you other soundies used a AJA GEN10 (to hardcable Genlock) or Timecode Systems UltraSync ONE when using 2 or more cameras? Have any of you gotten a AJA GEN10 and billed for it to provides a frequency clock reference to "synchronize the cameras" on a long take show? Did you also feed AES10 to your recorder via AES IN and stay in-sync with the AES sync generator? Have any of you experienced Camera Dept. or DIT providing a GEN10 ? On shows with HDSDI hardcabled to camera Is a Genlock cable and also a TC cable really that awful these days that you've gotten a lot of pushback from Camera Dept. when camera is on a tripod in a 1 or 2 location only day? Has anyone experienced more accuracy with hardcabled Genlock instead of using a little box providing Sync and TC?
  3. I used a SD 888 recently outside when it was 90 degrees F (32 C) with AC power and it put off a lot of heat. I had it in a bag with sides open and even put a XLR head between the 888 and the bag wall to have 3/4" air on top and bottom. I only had 4 of the analog channels turned on. The XL-AES accessory was installed but not being used. It was still hot to touch. The 888 Operators manual states that is 140 degree F ! from Sound Devices 8-series FAQ I was considering for long term perhaps having a heat sink for natural convection would be better especially for when in a bag and running around you don't want a lot of space around it to jostle around. Would a heat sink help here? Doing a little searching on JWSound I found this very old 2009 post about issues with Sound Devices 788T in a bag Has anyone used a heat sink on top of their 788T, 688, or 888, Scorpio when in a bag as you were concerned about heat and longevity of the electronics too? Any experiences you can share? I was considering a 1/2" tall heat sink as a passive heat exchanger big enough to cover the entire top of the 888. I really don't want to use Thermally Conductive Grease (like Lectrosonics silver conductive grease) on the 888.
  4. On June 8 Amazon turns on the Sidewalk mesh network. It runs on a few technologies 915 MHz “LoRa DTS” (Long Range Digital Transmission System) as well as Bluetooth Low Energy (BLE) [2.4 GHz ISM band] I'm concerned we are going to have RF spray and some major RF issues with part of the spectrum of older Lectrosonics D4 902-928 MHz system starting June 8. The D4 Tx was always Niche doing 4 channels on a digital stream. Obsolete now? June 14 Tile trackers start using the Sidewalk network too. Does any other pro audio wireless RF gear use that range (902-928 Mhz) also? I think the license-only 940 band from Lectro is safe. 940 (941-960 MHz) more info on this tech that will be in homes and businesses and most likely Amazon delivery vehicles. Sidewalk has a larger range than Wi-Fi — in theory, up to 1,500 feet, according to GridConnect. Amazon’s wireless network, explained https://www.tomsguide.com/reference/what-is-amazon-sidewalk Amazon's Sidewalk Network Is Turned On by Default. Here's How to Turn It Off The company's Sidewalk mesh network goes live June 8. The good news is that you can turn it off. https://www.inc.com/jason-aten/amazons-sidewalk-network-is-turned-on-by-default-heres-how-to-turn-it-off.html https://medium.com/@prajzler/amazon-sidewalk-a-technical-deep-dive-3e7dd80f0aee
  5. Is the Icon Pro Audio QCon Pro G2 Control Surface a possibility with the Sound Devices 8 series (or 633,688) in lieu of the Sound Devices CL-16 16 dedicated fader unit? Icon Pro Audio QCon Pro G2 $700. USD approx 8 touch-sensitive motorized channel faders universal control surface with Mackie Control and HUI emulation 12Volt2.5A DC powered USB 2 connector 14.6lb heavy.. https://iconproaudio.com/product/qcon-pro-g2/
  6. When I first started out we were doing a press day when Tori Amos founded RAINN organization and there were crews setting up for interviews in a few rooms in an old building in East Village, NYC. wooden floors and hard walls. One crew had treated their entire room (maybe 10x16 feet) with soundblankets on the floors only and when I walked past it it still sounded full of echo. So yes blankets hung vertically help a lot more. On a movie I dayplayed for another mixer we were in a large room. The boom op helped me use furniture blankets on C-stands vertically in a V-formation spaced about every 10 feet back from our area. It was the first time I had done it but he told me his regular mixer did it that way. I think we used maybe 6 C-stands. It did help somewhat. On a short film in a bathroom with one character standing in front of the sink talking to himself in the mirror with CU shots only I put blankets out of the shot in the bathtub and under the toilet and they made a huge difference. It is like when you go into a new home and there is an empty bathroom without a shower curtain. Here is Excerpt from Sam’s Tail, a branded comedy for Heineken. scene starts at 2:25 I need to get some furniture blankets. Maybe start with a few. I heard on a youtube video that some people can buy them cheap used on Craigslist. black/white or grey is the key thing here... And yes a shag rug is gonna do wonders in a room acoustically but for a working film set not very practical to cart around and setup. So when I've had to goto a person's home for narration record I tried to get a walk-in closet or a room with carpet and heavy drapes. Along with this thread topic I have recorded voiceovers in people's walk in closets. I have also lined a small closets' two door doors with blankets held by spring clamps at the top and had the narrator face into the office's closet and record some VO. with the door open maybe 25 degrees. I have built temporary voiceover "booth" out of 5 blankets. In a large very reverberant space I used 3 as a triangle hanging from C-stands, one laid over the top, and even one on the floor and gaff taped it down on the edges. Boompole coming in from overhead on a stand. I also setup a C-stand holding a small solid flag for talent to lay their script on and another lightstand with a 150w fresnel peeking in the top corner so they could see. We are talking about 2 minutes of VO to record immediately after host reads to camera on a set 50 feet away.
  7. Let's talk about DCHT (Digital Camera Hop Transmitter) specs. Lectrosonics makes 3 digital wireless systems: DSW System Encrypted Digital Wireless System using DBa Belt Pack Transmitter ANALOG INPUT ONLY Sampling Size and Rate:24-bit, 48 kHz Audio Frequency Response:20 - 20 kHz, +/- 1 dB Digital Modulation:8PSK D4T Digital Hybrid Wireless Diversity Transmitter 2 or 4 channel operation line level analog audio signals and AES/EBU digital audio signals 48 kHz/24-bit audio, ruler-flat 20-20000 Hz frequency response and now just announced in 2019 DCHT (Digital Camera Hop Transmitter) The DCHT accepts two channels of mic or line level analog signals or an AES digital signal from a mixer and transmits to the receiver or receivers in a purely digital format. Frequency Response: 20 Hz -10.5 kHz ± 1 dB Compatibility Modes: • DCH (Digital Camera Hop) Digital Modulation: 8PSK Specifications subject to change without notice On Gotham Sound website they list: Frequency Response 20 Hz – 14.5 kHz ± 1dB On the manual's DCHT Block Diagram is a "Rate Converter" So that would mean the AES3 digital 24-bit/48kHz signal is getting SRC (Sample Rate Converter) to 32kHz inside the DCHT before transmission? DCHT Ok for most dialogue but not music. Opinions?
  8. I have a shoot there next month. Is there any update on RF Blocks ok in Costa Rica? Coffee Farms so probably way outside any city.
  9. I've also done this half a dozen times. Sony PDW-F800, F55, Amira. Using SD633, 552, 788T, 688 units. HD-SDI carries 16 channels of AES. The most I've seen available is 8 channels using a VCR such as a Sony PMW-1000 XDCAM SxS Memory Recording Deck but that is really just displaying 8 channels on playback. For AES digital in it is usually just 4 channels on camera, VDRs, if you use an audio embedder it will take up to 16 but you may require 2 embedder units to add audio to 16 channels since each one can only add 8 channels. Some really expensive units allow access to 16 channels of AES input on 8 BNCs such as AJA FS-1 frame synchonizer.
  10. The way I look at it is if you can use a camera's XLR inputs that conform to the AES3-2003 standard for digital audio @ 24-bit/48 kHz is you are just using the camera as a bit-bucket and no loss of quality. No awful analog circuitry to introduce noise or low bit quality A-to-D converters used in the camera itself. With 24-bit you don't even have to worry about low levels since the A-to-D converters are in the sound equipment not the camera and thus bigger dynamic range (without limiters if desired.) With a mixer/recorder like a SD 688 internal digital router you can send any Prefade or Postfade ISO or mixes to any of the 4 AES tracks. With a wireless system like Lectrosonics D4 you can send 4 digital tracks wirelessly to a camera. I wondered if the idea r.paterson mentioned would work (onboard mic goes on ch1 (xlr1) and aes 2 track goes to xl2(set to aes goes to tracks 3/4 on f5/f55) or if you had to have only all AES on both inputs. Good to know.
  11. I went from a SHURE FP12 HEADPHONE BRIDGING AMPLIFIER to the Sound Devices MM-1 for a boom op o over 12 years ago and it was better in a number of ways. first it wasn't just a headphone amp for hardcabled boom op. and I wasn't only providing mic pre from my mixer. I could do wireless boom. I agree with many of the others above for using as a boom good mic pre before a TX for wireless boom op. the low cut filter was nice but especially the limiter. For non-scripted corporate stuff I also use it when I only need 1 headphone at video village for a director/producer or if there is a teleprompter operator I'll set it up just for them instead of breaking out Comteks.. The sound quality is lightyears above a Comtek PR-216. Paired with a slightly nicer pair of headphones than cheap consumables that are broken in a matter of weeks it sounds good and runs on 2 AA batteries.
  12. If a cameraman has the kit and is just hiring me as labor I bring my harness and headphones, toolbelt. I view them all as personal tools. No my toolbelt is not like a 1st AC bag kit. Keeping a few things in my bag of tricks like a Shure A15AS Switchable Attenuator XLR, a couple XLR turnaround & BNC barrels are lifesavers, and as an A2 a Whirlwind QBOX Audio Line Tester I live in NYC and on a labor-only day take public transportation and it's not like I am bringing my full kit and leaving it in my car parked at location "just in case" for À la carte item rental. Just as Wandering Ear mentioned it's also not my preference to have someone else's sweat-stained smelly harness I am expected to wear. If I have used their kit before & know and they have absolutely no clip-on velcro straps for cables, snake, headphones I may bring a few to make my life easy if it is a run & gun day. If it is a production /crew company it's also pretty similar but not too often do I come across these gigs. If anything is not working in their kit I do the gig with what I have, label the items as NG, and label the case as well, and usually email them listing the items that are not working and then it is up to them to fix it as I have informed them. David Waelder I love this!
  13. This is a good way to get Direct Outs when the FOH soundboard doesn't have them or there is an automated system. Thanks. Making my own mix is better and if a lot of inputs and using a the Dugan & MixAssist or Zaxcom Nomad (Auto-Mix) tool on some mixer/recorders is also an option for a better mix anyway than most AV FOH mix feeding the P.A. system.
  14. For a video shoot when documenting an event with a podium or dais table of speakers: When asked to get soundboard feed from an AV company contractor at an event or conference and it is of a low quality we have choices but as usual it depends (mostly on time.) sometimes there is a active press mult box but often I'm the only one taking a soundboard feed. I wanted to see if others came up with better ways... If it is at a hotel usually it is just an analog MONO feed out of a mixer that is doing the amplified P.A. system for the event. Sometimes it is a setup and walk away room where there is no human monitoring the wireless RF mics, mixer, or P.A. system at all. It just may be a busy hotel with a low priority on AV or a very small hotel. Over the years based on experience I will come with every connector type to take a feed as it may be my only option to get something out of the board. Often it will have a low buzz or hum. Usually eliminated with a ground lifted transformer like a Whirlwind SP1X3LL Line Level Splitter. A big issue for me is when the Audio/Visual dept. sets up the audio for the P.A. only inaccurately and has very low micpre levels and overall levels feeding the speakers as well as the feed they give you. Since they leave open all the faders at all times the noisefloor is close to AM radio reception noisefloor. These are situations with 3 guys on lavalier mics or a handful of handmics used as table mics without goosenecks and the FOH A1 has never heard of noise gating. In the room PA it may sound "okay we can hear them talking" but on our headphones when you have a all-day event with 2 or 3 sessions throughout the day it is numbing to listen to. Another major issue is RF Coordination in advance with the event organizer, contractor AV company, sometimes liasoned through a hotel AV department, actual A1 Front of House guy getting your request in advance for just a couple frequencies so he can coordinate on his end and ideally assign you 2 frequencies and 2 backups if you are being required to take a wireless board feed if they will not allow you to run XLR cabling for safety reasons or time reasons. Another way I can eliminate the low quality feed is by being able to split the microphone(s) at the stage bypasses their preamps low level and any ground loop issue coming out of the FOH board. I would use Whirlwind SP1X3 - Mic Splitter on each mic cable before it goes to a snake. This is fine with just a couple mics but problematic when there are 10 mics from a table of speakers. This gets a little hairy if you are there to document the event but not there for the entire day. Usually I will take their feed and if I have time also take a split of the podium mic myself if I can. The politics sometimes make it more of a challenge since it is their sandbox and equipment. Sometimes I am also able to take a Direct Out from their mixer for the podium mic only and then I have that clean as an ISO without the powerpoint sound FX and any music from VDR playback videos, or still low playing walk-in music. Sometimes I will discretely place a boundary mic up on the podium as a backup mic. And if none of that is possible I will run a lav mic up the gooseneck of the podium mic and into the podium mic's foam windscreen or underneath the mic with my own windscreen. This gives options when a terrible sounding soundboard feed is offered. Usually you want to have a crowd mic MONO or stereo for all applause. How else do you guys solve this problem?
  15. Agreed. With the social media from SD stating "between 633 and MixPre-6" it puts this mixer/recorder/interface really for bag work. I don't think the people buying this are going to setup a cart and it becomes an interface for a computer-based recording rig running Boomcorder or Metacorder with a middleware software mixer that most interfaces offer for musicians such as MOTU or Focusrite, and use a MIDI or USB 100m linear fader 8-fader console to make a mix. Can they? Sure but it seems like a patchwork way of doing it a decade after Boomcorder was a cheap option of multitrack audio in the field. The location of the _ONLY_ media card is underneath the recorder (when in a bag) . I suffer through this on a 552 unit that I sometimes use. I curse the designers EVERYTIME I insert or remove the SD media for it's location and having to unplug cables...SD will surely come out with a mixer control surface with faders for this internal digital mixer that is USB. The SD website doesn't have the User Guide up yet until the unit is released but how it is categorized on their website says a lot. It is under the RECORDERS section, not under the Mixers with integrated recorders. At a cost of $1799. MSRP with only an SDHC/SDXC card as sole media the option of Auto-Background Copying to a USB thumb drive is better than nothing but it sounds like a 2nd recorder would be better if you are at a sound cart. "change metadata/track names etc. after a file has been copied?" This would be an issue if the SD card failed or became corrupted. Since SD categorized this as a recorder what other options are out there? older bulkier units but with the same or better specs such as AES digital inputs/XLR-4-pin POWER INPUT which would be good as a backup 8 track recorder. Tascam HS-P82 8-Channel Field Audio Recorder $1999. Roland R-88 8-Channel Recorder and Mixer $1995. and extremely low cost portable multitrack recorders like Tascam DR-680MKII 8-Track Field Recorder $749. Zoom F8 Multi-Track Field Recorder $999. While I love SD user interfaces, I also really want a feature like Zaxcom's Neverclip. You really need 2 media rolling these days. The high end guys all use 2 separate recorders. The market the product is after are not high-end guys, thus needing 2 CF or SD media cards in the same recorder at least. There are many price points and products from SD now and they are coming under heavy competition from companies like Zoom and I wouldn't be surprised if Behringer entered the portable multitrack audio market with an announcement at AES this month.
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