PTA

I was actually going to do some research on this so I'm glad it came up. I will look into the link. Just curious, approximately how much does this insurance run per year? I'm sure it depends upon the total cost of your equipment, but is there a range that I can expect to fall in?

It's actually a saddle bag that I cut in half and made a hole in the bottom for the hot shoe screw. It is basically just a little protection from getting it knicked up. I've actually talked a little bit to Lectro about making a water resistant gaurd for the SR when it has the battery sled on it. They sounded interested and were throwing around ideas of something like a mold that snaps over it, kind of like an iPhone case. That would be nice. In the meantime, I'm trying to construct something that is a little more water resistant, with a bag sinch for the cables and a clear plastic on the front end with holes for the antennas.

I started using the SR as a camera hop and so far so good. It is a very small rig and it is pictured below with an HVX. One thing I did notice while listening to the footage very closely while it was being edited, was that there was a barely noticeable high frequency hiss that almost tended to 'breathe' with the dialogue. If I were to make a guess, it was that is was the transmitter being driven a bit too hard on the transmitters, and hearing a little bit of compression. I talked to Lectro about it and they said the system is very quite and shouldn't have any noticeable noise like described. The only other thing I can think of was it was the HVX. -P

Thanks for the reply. Has the Denecke SB3 been pretty solid for you? I thought about the wireless option, but it would also mean just another wireless link and another thing that I would have to mount on my camera. Plus some of the shoots I work on don't have this option for the camera timecode output. The Denecke SB3 would seem like the better option, as it would just be another little thing in my bag that would be consistent and solid for timecode. Some of the shoots I have been working on have all the camera's jammed to the same timecode. I've been running a wireless link to camera for audio, but have been recording backup on the 552 just because I can't monitor what is happening on camera. I thought it would be convenient for my backup audio to have timecode on it in case it is needed to be used, even though it is not essential. It got me thinking about timecode for the 552 and how necessary/unnecessary it is to have. Are there other scenarios where the Denecke SB3 would come in handy with the 552, not just in backup recordings?

I have done a little bit of research on this topic but am also fairly new and just getting into it, so any advice would greatly be appreciated. I mostly to ENG/bag work and I recently got my hands on a new 552 and was interested in the timecode aspect of it. Since it only stamps timecode and doesn't generate it, I believe the only way to have continuous recordings with the correct timecode for multiple recordings would be to carry something along like a lockit box from Ambient in my bag that I have jammed at the beginning of the day. I looked into these and they run pretty expensive. Are there other option for being able to have my recordings timecode stamped? It would be nice to have something of my own, but I'm wondering if it is even worth it. -P

Yeah, sounds like the same issues. Thanks Chris, I guess I wasn't going crazy. And the cables were new and unpadded. Another solution with double system.

Yeah, I know the RED issues have been discussed a lot, I just had never seen this issue before. I'll definitely call sound devices, that is when Monday rolls around.

Hello all. I've been working on a shoot with the new Sound Devices 552 and the RED and I have noticed two things that are bothering me. The first is with the RED. It seems like every time I work with this camera, it behaves differently. This time when I send in tone from my mixer, it comes in well below the hash mark yet when I'm testing dialogue levels, the levels start to clip well below the hash marks. It seems to just jump to clip when visually it looks well below the marks. The other odd thing is, changing the line level between 0 and 10 db doesn't seem to do anything. So basically I'm having to visually observe where my levels are comming in on my mixer to where the RED "appears" to be clipping and make mental note of it. The second is with the 552 and the recording and return metering. I'm used to being able to calibrate my mixer with the camera so I know the levels on the camera. The 552 has a feature where you can meter the return signal level coming through the return, but you can disable it and just view your mixer levels (like the 442 and the 302). For some reason each time I record a take it seems to forget that I have disabled return metering and I have to go back and reset it. Possibly a bug? Any thoughts?

I figured that the cables probably don't have enough attenuation for line level. It's looking like the -10 consumer line level seems to yield the right levels to the transmitters. I have the SR receiver outputting its max level at +5, and setting line in on the camera. I believe that's the right way to go about it... I'm trying to get it to sound the cleanest from source to camera.

I recently just got a Lectro SR with SMQVs that I'm using as a camera hop. I'm trying to figure out the best settings this setup as I'm using it mostly for reality type stuff, primarily in conjunction with the Panasonic HVX. Anyone out there using a similar setup that can recommend the ideal settings? I'm finding that line level out to the transmitters, even with padded cables, is a bit too hot for them.

I definitely run into this a lot, sometimes because of what you have described above, but also because some indie productions simply don't have the money. But, back to the first reason, I am really trying to stress the point that a good sound package often costs way more than the camera package, that lowering rates hurts all the other soundies in the area, and in the long run sets the rate lower for what local sound is going for. But then there is balancing that out with turning down work that you might not pick up, we have to pay the bills right? Sometimes, I feel like I pull my hair out trying to figure this out.

This thread is a little old, but I'm bringing it back as I find it interesting and I might be embarking on some 'reality' situations shortly. Where I am located right now, it seems the the soundies in the area are charging flat rates, that is gear and labor into one bundle, so that is what I have grown accustomed too. I am familiar with the idea that extra things cost extra money. But as I'm newly investing in things such as camera hops and more wireless, how can I get an idea of what a good rate is for these 'extras' without stepping on some unwritten rules about posting these things?

Thanks for all the help. I think I'll go ahead and order the earbuds, so I don't have to do any explaining, but more importantly they will be less likely to be sat on and broken by whoever is using it, which seems to happen. Not to mention they are nice and cheap. I would be sad if a pair of 7506s were ruined.

Nice, thanks for the help. I seem to have got it working for the most part. I'm thinking of getting a volume adjuster for the headphones, something simple the user can adjust on their own. The only thing I'm noticing is I'm only getting audio into the left side of my stereo headphones. I'm going to get some cheaper headphones for this anyway, but would you recommend getting mono headphones or just a stereo to mono adapter? I guess it just might be a choice preference.

I know this is possible and tried searching for it, but was unable to find any details. I was interested in using some of my Sennheiser's as an IFB since my Comteks got stolen. I'm using the 552 now and I'm feeding the transmitter from the mono mic out of the mixer. I'm just not sure on the setup for the receiver. What is the setup for using headphones with the receiver? Is it useful to have an inline (manual) volume adjustment on the headphones? Are there specific settings that need to be set on the receiver? Best, Palmer

Hello all, I'm interested in working or simply helping out and learning from any of you experienced mixer's in the Nor Cal or Bay Area. I currently work out of Sacramento, but would be willing to travel in order to gain experience working under someone, helping out, or simply just watching bigger productions take place. Let me know if anyone has any thoughts, work, or needs an extra helping hand. Best, Palmer

I know this is an off-shoot question to the DPA posts, but is there a similar concealer for the Cos 11s, or is the vampire clip the way to go with t-shirts and alike? Basically, what is best for the Cos 11? Sorry to deviate...

True, I believe this camera does have wind reduction filters too. But those who have noticed issues claim the absence of low end even when the filters are deactivated. Again, I didn't notice it when I worked with the V1U, but that was just my experience.

Hmm, after reading some of this I am beginning to question myself on the block I was about to purchase. I am in the Sacramento area, occasionally do work in the Bay Area, and one day might be moving down to Southern Cal. I was going to buy block 19, but now I am wondering if there is a better option? I'm looking to get a Lectro SR system that I can use both as a camera hop and also as talent lavs depending on the shoot. Any advice on the block I should get taking all this into account?

I have worked with the V1U and have heard similar complaints about the low end of the audio spectrum being absent, almost as if there was a permanent high pass filter built into the camera. When I actually got to work with the camera hands on, I didn't notice a significant loss in the low end of the spectrum, at least not to what people were describing. The only thing that I can guess is that either the people that originally made these claims were way off in what they were saying, or that Sony realized they had made a big mistake on the audio side of the camera and fixed it in the batches of cameras that they sent out after the original batch. That being said, everything was being run through a mixer at line level out and not directly to camera from the Sennheisers. But I must say, Sennheisers are rough after you have worked with Lectros. My end experience with this camera worked out fine though. I hope that helps.

Well, all this information is definitely helpful. This definitely aligns with what I have gathered thus far, which is good. I had the impression that as you are getting started, it would probably benefit one to be out of a union as you are working on a lot of independent films, projects, etc. and being in a union might hinder you, especially since the more experience you can get, the better. As others have said, once you have made a name for yourself (hopefully), then joining a union and CAS would be more beneficial towards one's career. Thanks again to everyone for their comments, it is all very very helpful. Hopefully I'll have a reason to join both one of these days.

I'm glad I asked because I'm learning from all of this. As of now I'm located in the Sacramento area. There are times that I'll travel to the bay area to do some work, but the vast majority of everything I do is based out of Sac. I'm feeling like my location, to a certain degree, is limiting me as far as opportunities and potential experience that might pass my way. I've been fortunate enough to observe the sound department on 'Trauma' and it was a great eye opening experience. I would love to continue to get opportunities like this, I'm just not sure on the best path to do this.

I'm fairly new to location audio, and was hoping to get some of your thoughts on CAS and sound unions. Sorry if this is a pretty general question, but what are the advantages of joining either, when should one do so, and just the basics of what they are/do? The work I've done thus far is usually centered around independent film and TV commercials but I am looking to hopefully expand into bigger things. Anyway, thanks for tolerating this newbie question and all advice is welcome.