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Dan Brockett

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About Dan Brockett

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  • Location
    Los Angeles
  • About
    I'm a Producer who occasionally does location sound.
  • Interested in Sound for Picture
    Yes

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  1. Cool discussion guys, I grew on on V1.0 Star Trek and always thought the same. When I was at film school, we had an old school Fisher platform boom in our studio and I had a few chances to actually work with and boom scenes with it, what a great piece of equipment that just like Fisher dollies, was a well made, perfectly crafted piece of gear.
  2. I have the Deity Connect system. It's perfect for this and the stereo capacity can come in handy for certain situations. It's well built and in a pinch, if one of your main Lectros went down, it could pull double duty and step in for one or two of your Lectros. It won't have the range obviously and will be noisier but with some gain staging, they sound good for the money at short working distances. The built-in batteries last all day and TX and RX can be charged as they are in use via USB C or on a break if you are shooting a long day.
  3. I own some Deity products. Makes me feel good that Andrew is taking care of his customers in a way that few others would. Props to Deity!
  4. Thanks for sharing that Constantin, I have not seen nor heard of that one. The specs look pretty good. What are you using for a monitor? High brightness or just a regular monitor? Do you work outdoor much?
  5. https://www.amazon.com/Accsoon-Transmitter-Wireless-Transmission-Incredibly/dp/B07Y8W3MC7/ref=sr_1_3?crid=15WJ9080VFSGS&dchild=1&keywords=accsoon+cineeye&qid=1592321372&sprefix=Accsoon%2Caps%2C200&sr=8-3 You guys will laugh, but I've been using the Accsoon CineEye for almost a year. It's cheap and the output is surprisingly decent. It's built really nicely for cheap Chinese. Downsides are that the internal battery is soon depleted (I used hook and loop fastener to fasten a small Anker candy bar battery to the rear of it and it goes all day now, no problem), the range is limited to about 200-300 feet line of site and less with walls or glass in between, and it's HDMI only, not SDI and it doesn't transmit audio, video only. It's far from a Teradek or the others mentioned here but it's so cheap as to almost be free and it actually works. All of those limitations aside, the plus side is, it's 5G, so you don't need a receiver and a monitor, you can use up to four phones or tablets at once so your director, producer, ad agency person, scripty, boom op, whoever, can download the Accsoon app on their phones to see what's happening. I rigged up a spare iPad Mini I had laying around, fastened another Anker battery to the rear of it, attached a Hoodman and it becomes my director monitor for sit down interviews, works great. It's not as good as a Teradek, Vaxis or Hollyland, but it's almost free and is surprisingly good for the money. For $200.00, it's worth ordering one off of Amazon and TRYING it in your situation to see what it does. If you need something better, return it, then you will know. I shoot a lot of BTS and EPK content and these clients won't give me budget for a Teradek or a good system so I bought this really so my producer could see what my camera was seeing when I was in tight places in set and there was literally no room for her to be on set but she wanted to see what I was shooting. I also use it to get a tap from video village when I am sound mixing. It's insanely handy. I've used when shooting with a camera mounted overhead on a jib, camera mounted up high in a corner. The unit is small and light enough to fit onto a hot shoe on a mirrorless camera or you can Velcro it to an arm or Mafer clamp close by. Really a useful and amazing tool IMHO. Not a high end pro tool but how else are you going to get usable wireless for $200.00? It does have too much latency to pull focus from but that's to be expected and all camera HDMI outputs have varying latency anyway.
  6. Having rolled a dozen GoPros on various racing boats for our Docu Series, I like PMCs solution above. Easy and works. We had to keep our GoPros waterproof so we couldn't run anything into them anyway, the ports weren't accessible when waterproof. GoPros, honestly, in professional production are a nightmare, they overheat, fog up, stop recording randomly. They are anything but pro. But at least using a phone TC slate, the editor gets some reference frames for off set in editing.
  7. Yes, if you get the one that Sound Devices suggests, the +20100. Wow, I just pulled up TVPostSounds link above, the price on this battery has dropped by 2/3 since I bought it a year ago, I think I paid $99.00 and now they are $32.49, killer deal, buy a couple. I have several other Ankers I've used for years for charging phones, Go Pros and other small gear on the go, they really make great batteries. I have the Accssoon CineEye, a small HDMI to 5G wireless video transmitter that only has an internal battery that wears out in about an hour. I used that heavy duty hook and loop fastener and hooked a small Anker candy bar battery to the back of the CineEye and now it can stream video all day without needing a battery or charge. The Ankers are life savers.
  8. Have been using the Mix Pre 3 for live streaming. We run all cameras and the MP3 via AC adapters for live streaming as you cannot do battery changes, ever, during a live stream. In the field for regular shoots, we have the Mix Pre 3 in a Ktek bag with the SD Sony NPF plate as backup and the Anker 20100 candy bar battery running into the USB C with the battery in the front puch of the Ktek bag. If the Anker USB C connection is ever ripped out, the Sony NPFs would take over powering chores. Has been bullet proof so far. We did an all day video shoot last week and the little MP3 was a champ and the sound was great.
  9. Nice. I love organization.
  10. Thanks Scott, that makes sense. I just ordered two new neutral freq caps from B&H, I bet these will probably fit on the this mic and stay on fine. I'm glad you know something like this, thanks for the heads up, I was scratching my head.
  11. Any thoughts about Loctiting or even Crazy Gluing the cap in place if I am positive I don't ever want to use the frequency boost caps and just stick with neutral? Do you think either of those might harm the B6? My favorite setup are the Rycote Overcovers so lots of "sticky rigs" for me. B&H has the replacements for $8.33 ea.
  12. Hi all: I had a Countryman B6 that I bought 20 years ago and used it until the cable shed it's jacket. Countryman couldn't repair it so I looked around and found a lightly used one missing it's case and accessories for a song so I bought it since I already had a case and all of the accessories from my old B6. I tested the new B6 for function at home and it worked fine. Was on a shoot yesterday and went to mic talent. We had a break and the talent unmiked himself and left the lav on a counter, no big deal. But I noticed that the protective cap was missing. Searched through talent's wardrobe and all around the floor where we were shooting but couldn't find it. No big deal, I ordered two replacement caps this morning. I was using the Flat frequency response cap yesterday, so once it was lost so I went to use the 4dB frequency boost cap and I notice that the fit of the cap on the mic head is a bit loose. I try the other cap I had, the +8 and same thing? The caps will fit onto the head but the fit seems to be a bit loose, like they don't fall off but even slight pressure, they seem to come off. Is it possible Countryman changed the mic head diameter or something over the past 20 years? New mic with old caps? I've kept them in the mic case, in their original little baggies that has the little frequency response chart with them. My original B6, I never, ever had a cap pull off or fall off in use. What could cause the new mic head itself to have a slightly loose fit with the caps? I always just use the flat response cap, I don't have a pressing need to change them out a lot, I find I generally don't prefer the sound of the frequency boosts. If this was your B6, how would you remedy this? I was thinking of getting a toothpick and putting a bit of Loctite inside the cap. As long as none gets on the end where the mic diaphragm is, it should affect the sound should it? if I don't have talent sweating or going into water or mud, is it safe to use the B6 sans a cap? Weird issue. I pressed on the caps with some reasonable force to make sure they are "seated". I think they are just friction fit, I don't see any little tiny lock rings or lock retainers molded onto the mic head housing or the caps? Thanks for any advice. Dan Brockett
  13. I've been pronouncing it wrong for decades! Good to know.
  14. If you are used to lugging a broadcast 2/3" type, or Arri, fully outfitted RED camera all day, you'll be fine. If you mostly shoot with an A7 mirrorless, you're going to find an FX9 with the kit lens, XDCA or other back and a V Mount is going to feel huge and really heavy to you, especially lugging it for 16 hour days as a OMB. Perhaps I am spoiled but I find the C200 to work better for that type of shooting, cradled mostly. Even fully outfitted with all of the Zacuto and Wooden Camera gak I have to make it work as a shoulder mounted camera, it is much shorter, smaller and lighter. Maybe also consider the C300 MKIII, which looks to be a pretty great camera package that also shoots internal RAW as well as XF-AVC. Trust me when I say the S35 sensor is not any worse or better overall than the FF on the FX9 in use. FF is not the be all end all that many in the business paint it to be. I don't mind it but I would never let it dictate a camera purchase for me. Sorry for the topic creep. Good luck!
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