ao

the cw version has 5 wide band frequencies and 5 narrow band. the narrow band is needed to send audio to phonak earwigs. if you don't need this capability, get the "p" version

this is presently on ebay, and the seller is in your neck of the woods: http://www.ebay.ca/itm/CONDOR-Battery-Case-Holder-Storage-Box-US1017-AAA-AA-CR2-CR123-Made-in-USA-/221803429151?var=&hash=item33a483bd1f

ryder sound was the other company (30hz) and I found a picture of the resolver that I used to have: http://www.bblist.com/ilg.php?item=25370&iid=86459

kudelski used 10hz. there was a 3rd party scheme that used 30hz. name of the company escapes me at the moment, even though I had one of their sn cradles that powered the sn.

I am presently on a shoot with (8) portabell units. they function well and make a difference. only suggestion I would make is another colour for blocking. when you have long blockings and long scenes, crew members without walkies have no idea which is which and make noise regardless. if one had another colour for blocking, they would know that they could keep noise to "a dull roar" and know that the red light is for rolling. a compact unit, for lifts, perhaps light only, would be a help. sometimes, a scissor lift is changing location but is out of range of the light and the lift is drowning out the bell. I had made an inquiry about purchasing but was told it was rental only. perhaps the u.s. market is different.

jason and I work with some of the same clients that can send you to extreme locations. I had some saltwater exposure that I was waffling about asking the production about cleaning/repairing until I heard that they were on the hook for $15,000 of lens repairs. my cleaning issue turned out to be a $1000 meter bridge repair, which seemed small by comparison. with most folks having access to smartphones these days, the important thing is to document an issue right away with the production, then decide which way to handle it, once the diagnosis is in. no one likes a surprise, after the fact.

the series that I am on presently has a 1st ad on alternating episodes that uses a program feed that I supply to keep track of what is happening around the camera (via the boom) and what the sound issues are during a take. on his episodes, before I can say "get rid of that extra that crosses off camera", he is already on his team sorting that out. the other handy thing is that I have his ear for other needs: "I'll need a moment for a radio mike battery replacement". when he hears this, he can keep the process idling for a few seconds while that is attended to, without the dreaded "rolling" because no one passed on to the 1st that you were in the middle of a battery change. because he is listening, he also passes on the command to locations: "kill the air, kill the air, kill the air". the repetition is helpful for the poor locations pa that might be located close to the noisy air conditioner, or is off set on another mission. the air con unit that we are using on set has a long range wireless control which means that the locations pa might not be close, but he can be effective.

abe, do move this to a separate topic so that we can share tips and experiences

even with 2 lavs, things can go south, as was seen during the ford/carter debate in 1976: http://thiswastv.com/2012/08/22/debate-night-fordcarter-1976/

while the new versions of arcan (or whatever aaton is going to call it) are still in the works, I use windows mobile device "athena" by htc, to keep using the original one. making changes and notes at the metadata level are the big seller. if my .pdf notes are lost, the notes I made are all in the metadata, for someone else to resurrect. the "athena" has a small fold out keyboard that is handy to tap out the notes (200 character max). arcan allows me to make changes on any file that I recorded throughout the day. handy for the hand-wringing approach by script, to change a slate, that was shot hours ago....

find allies. onset carp and painter are often in the same boat if they drive a smaller vehicle. I drive a mazda5 and am often ignored on some productions. my present production rotates location managers. on the even episodes, the folks are very attentive. I offload in front of set, and they have a parking spot around the corner (often closer than camera because of the size of the vehicle). also, the onset carp on this show is the crew rep, so he is very receptive to my parking issues, because of his own problems. I hate to give away time to the production, but there are popular locations in my locale, that I know the production has endless ways of screwing up. I go early, to ensure easy access, and have time to leisurely set-up. some days, mental health is more important. it also helps to have prime real estate on set, and allow camera to share the space. makes for good interdepartmental relations.

until the production asks for, pays for, and gets the script supervisor on board, I see this system as a wireless way to jam the slates and clockits. nothing more.

72 track table

for a single person set-up, the 8x8 is a bit trickier than the 6x6. with my 8x8, I use a bit of momentum to get the roof in place. when centred under the roof, bring the assembly as low as you can, then push up rapidly to click the roof in place. if you have the entire sound team in place, the tallest person can take the central position and two other members can step on the side flaps as the tallest person pushes the roof centre hub to click into place. stepping on the bottom flap of the side walls, gives you leverage as you work your way around the the three side hubs. the youtube video link below shows the assembly of a 6x6, or smaller, but the side wall and roof technique are the same principle: https://www.youtube.com/watch?v=yQJdO9xRlBQ heading your way at the end of the year. hope to see you, if you are in town.

​perhaps, due to the price, many systems have been sold to camera rental houses at a discount. one of my clients gets a "camera hop" package at little or no cost, when renting a sony camera. when working on docs on construction sites or factories, the fewer dangling cables (with a slot receiver), the better. the thing that I like about the transmitters is the 2 "aa" battery sled that allows one to change batteries quickly. this is one reason that I have not seen the need to upgrade my camera hop package. it's either the supplied sony units, or an older analog unit for other jobs, that is quite hardy. also seems to have less rf splash than the zax units that I have auditioned.

what chargers are being used with these batteries, and at what settings?

your assumption is a job with more radio mikes and more weight. I have a client that likes to have wild sound recorded with surround microphones. they have a holophone, which uses 8 inputs, and a soundfield st350 microphone which uses 4 inputs (6, if the client wants the stereo output recorded as well for cutting purposes). it is handy to have additional inputs to leave input cables attached for days when you are switching back and forth a lot. the cantar has b-format monitoring decoding, to have a stereo spatial sense of what is being recorded with the st350, if the client does not want the stereo signal from the control box recorded.

since these batteries are sold pre-charged, does that eliminate the need to do a "break-in" cycle?

what I did not see on the starcase site is a 1ru aluminum drawer. I started out with a 2ru starcase aluminum drawer and a 3ru starcase aluminum drawer. when bouncing the cart around on the street, I would keep the keys in the locks to secure the drawers for a move. when rackman had their aluminum latched offerings, I moved over to them. I added the 1ru drawer for the small stuff (tiny lockits and such) but it does NOT have a latch(or lock). either due to manufacturing, or blind luck, the 1ru drawer I have is kept in place by a secure dose of friction.

I keep my cantar at a 30sec preroll, and it has come in handy a couple of times on drama. it has been invaluable for documentary work, catching sound bites otherwise lost. I also like the mechanical style of the cantar controller (homage to nagra) that prevents the kind of electronic "double-pump" that you can get with other styles of controllers

I would buy an apple watch, or another watch, that could function as an accurate timecode device

this is the offering from audio root. the 98whr battery would be a good fit for running wires and such: http://www.audioroot.fr/product/ehrs4-out/

I had an 8.5hr "morning" the other day, so it is important to have some reserve time in case things don't go to schedule. I have been using ansmann2850 with good results but will try some black panasonic batts for comparison.

I am hoping that stuart wilson's version of the x1/2 bag made by kt systems is suitable. I find the front pouch of cantar bags in the style shown, get stretched and start to sag. when leaning over, you are in danger of having pouch contents spill out.

never a fan of the 942, because you have to leave the unit behind to keep an open microphone close to set. my team uses the 742/erx combo, which means that they stay on headsets, irregardless of where the microphone is. also, the 942 is not compatible with the super cmit,