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Everything posted by TomBoisseau

  1. Jeff, I agree that sounds logical, however I tried a "spare" cable with the same results. I also tried the same cable and connected it to an SB-3 and it worked fine. I guess what I'm asking, is there anything unusual about the timecode output of the HDX900? Thanks, Tom
  2. I've been using a Sound Devices 552 for about a month now and have been very pleased. Friday I tried connecting a Sennheiser EW G3 to the timecode output of a Panasonic HDX900. When I looked at the "meter" on the G3 it showed NO signal what so ever. I then connected a mic to the G3 transmitter and it clearly read the audio signal just fine. I continued during the day to try to get this "wireless timecode hop" to my 552 to work, but never succeeded. I have been able to get to work with other cameras just fine. I've double checked my cables, and they're good. Remember, I was getting NO signal at all into the G3. I suggested to the owner/cameraman that maybe something was wrong with his camera, or maybe something needed to be set in the menu. He called me today and told me he tried the output today with some Zaxcom piece, and it worked fine. Any ideas why I couldn't get a timecode signal? Thanks, Tom
  3. Philip and Robert, Thanks so much for your comments. Sadly I wish I have known of “PluralEyes” before this event. It turns out our editor DOES have Final Cut Pro, and this solution sounds perferable to what I did. Unfortunately, with the cameras only recording timecode on one channel and the on board "camera mic" on the other, I suspect Robert is correct that “PluralEyes” will probably not be able to do anything with it. Have either of you actually used “PluralEyes”, or has anyone else here used it? What were your impressions? Tom
  4. Did a shoot this way a couple weeks back. We had four cameras in various positions in Symphony Hall in Atlanta. None of the cameras were what you might call "high end", and NONE of them had timecode inputs or outputs. We were using 1 Sony PMW-EX1, 2 Sony HDR-SR7 and 1 Canon XL-H1a. The audio was recorded on a Fostex FR2 from the line outs of the FOH console (we also had another "wild" recorder running with room mics). The TC output of the FR2 was feed wirelessly using a Sennheiser EW G3 transmitter to 4, EW G3 (EK 100) receivers that were fed in to channel two of the PMW-EX1 and Canon XL-H1a, with channel 1's audio being the camera mic. The HDR-SR7's are more "consumer" style and only had a single mini plug input, so TC ended up on both of the audio channels of these cameras. The editor has only begun the process. He is planning to edit with Adobe Premier, which does NOT support "Aux Timecode", however we simply connected a LTC reader to the audio output of his computer. Of course, this means he can only read the TC when the video is actually playing back, but it seems that that is acceptable to him. Once he gets each "act" sync'd it shouldn't matter. HOWEVER, he says this is acceptable to him because there are not that many files. We stopped the cameras after every act, so there are only about a dozen files per camera for a 3 hour event (actually to me,that sound like a lot of files to sync) . I have tried to talk the editor into either using Avid (which he does not have) or using Final Cut Pro (which he does have) and buying “FCP auxTC reader”. He may go ahead and actually buy “FCP auxTC reader”. We will see how it all turns out. I'm looking forward to hearing a report. Tom
  5. Well... It's NOT a DVD "RAM" burner (it is a DVD burner however), but has anyone tried this? Tom EZDigiMagicâ„¢ DM220-P08 (with Viewing Screen) http://www.ezpnp-usa.com/show_category.sstg?category=2ef46bfc68cf4e33
  6. Jim, What a TERRIFIC resourse! Thanks for posting that link, and a HUGE thanks to Peter Gray for doing all that work. Tom
  7. Thanks Scott. I'll look into that. Maybe combined with the SD extender would be a good solution. Tom
  8. It looks a little fragile, however, where can I get one? Thanks, Tom
  9. Thanks Richard and Eric, So then the additional 4 line level inputs on the Fusion 12 are on the Horise 10 pin NOT on the DB15? I'd love to have the additional inputs, and having an additional 2 analog outputs on the DB25 would be terrific. However it's too bad you have to make that comprimise. I'd love to be able to keep the 10 pin Hirose as a quick easy camera link and return. After all that is pretty much the standard "video camera" connection these days. Is there no other way on the Fusion 12 to send a pair of outputs to a video camera other than using the DB25? I can imagine trying to build a breakout cable that connects to both the DB25 and the 10 pin Hirose in an effort to adapt my existing 10 pin Hirose send/return camera cables. That could be a bit awkward, especially in a bag! Tom
  10. This is something that interests me as well. I've been told that with the Fusion 12 you have an additional 4 line level analog inputs via the digital inputs. Is this true? Also, as johnpaul implied, do you really lose the Hirose 10 pin connection if you go with the Fusion 12? I've tried to find this stuff out by going to Zaxcom 's website, but I just can't seem to find the answers there. Thanks, Tom
  11. farroutpro, So how do you access the SD card slot with the Petrol PPMB/PWMB? All my previous "bags" have been Portabrace. I need to buy something for a new 552 that I will be getting this week. Seeing I need to buy a NEW bag, would you recommend the PPMB/PWMB or perhaps another model? Thanks, Tom
  12. Thanks Eric. Looks like there are some interesting products there. Tom
  13. Eric, It still looks pretty interesting. I don't believe I've seen one that small before with a video input. Where did you get that MP4 player and what is the make and model? Does it run off of 12 volts. Tom
  14. So then, I assume the safest thing to do (other than using a hard wire) is use a slate whenever possible, and take a either take a wireless TC feed from the recorder to the camera (or camera to recorder) or use something like the SB-3 or lockit box on the camera synced with the recorder, and NEVER depend on the accuracy of the camera's internal generator? Yes? No? Tom
  15. It seems, from my limited experience, that none of the video cameras out there will hold timecode sync with another camera or recorder. It appears the more "expensive cameras" may have better generators, but even those seem to drift a few seconds after an hour or so. I did a shoot recently with some Sony EX3's, and they seemed to drift about 10 seconds within about 10 minutes! So, are there ANY cameras out there that are "rock solid", or are SB-3 and lockit boxes (or wire or wireless TC feed) always a must? Tom
  16. Jeff, Thanks for your responce. I have almost NO experience when it come to editing, however now that you mention it, I believe I have heard this before. So then it "technically", or at least for purposes of syncing timecode with the 552 (or for that matter any recorder), it really does NOT matter who rolls first? Tom
  17. It would seem to me that in order to use the SD552 successfully with timecode, it would be necessary to input TC into the 552 either using a hardwire, wireless, or something like the Denecke SB-3. THEN, because the 552 will only "stamp" the first frame of the timecode as the file name (Is that right? Correct me if I'm wrong.) and does NOT lay down continuous timecode, would it not be necessary (if shooting video) for the CAMERA to roll first and THEN the 552 so that there exists the one common "marked" frame of TC appearing on both the 552 and the camera? I realise there are other factors to consider, but regarding having the camera roll first, would this not be essential for proper syncing in post? I'd gladly welcome other thoughts and suggestions regarding the 552 and dual system applications. Thanks, Tom
  18. Well I just did a test with the G3 and some 7506 headphones. What oleg said seems to be accurate. You really have to push the sensitivity on the transmitter so the peak light is regularly coming on AND you must set the G3 receiver output to +12 to get a "moderate" listening level. Of course there is no easy way for the average user to adjust the level to their phones, so it's certainly not a "user friendly" arrangement. You would also have to "Y" cord the output of the G3 receiver so it connects to both the left and right sides of the headphones. It seems to me this would be appropriate only for an "emergency" situation, but hardly suitable for day to day use. Tom
  19. Fernando, I'll test it out and let you know. However some of my earlier experimentations with the G3 and Sony MDR7506's would lead me to believe that the signal is likely to be too low for use with headphones. We'll see. Tom
  20. I checked with Horita. The PTG will drift +/- 1 frame per hour. Not too bad, but probably not accurate enough for what most of us do. Then again, given the price, size, and weight (not to mention it actually has a display) it "might" be deemed acceptable for use with something like the Sound Devices 552. In fact I am considering using it with the 552, although I may opt instead to just use a Sennheiser EW G3 wireless to send time code from the camera (about the same price as the PTG). Has anyone tried either of these ideas. Thanks, Tom
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