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GuyInLyonFrance

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Posts posted by GuyInLyonFrance

  1. 14 hours ago, IronFilm said:

    Any particular reasoning you're mixing FS7/C300mk2 together, rather than using two of the same, is that all you can get?

    Not my choice at all. The DOP just wants it that way, even though he's going to be renting the cameras. Why not two of the same cameras? No idea.

    13 hours ago, Philip Perkins said:

    Just a guess: "personal cameras".  I have a shoot coming up with 2 diff models of RED, a BM 4k and a C100, all owned by their operators....

    That's what I thought, but the DOP is renting all the gear. I have  a feeling that he may like one camera while the second cameraman likes the other. Weird.

    11 hours ago, Philip Perkins said:

    This approach works ok but is nonstandard enough that a chat with the editor before the job would be a good idea.

    The DOP is also the editor...

  2. Excuse me if I seem to be reinventing the wheel but I'm really just trying to confirm (after some research) some ideas I have about using timecode in a two camera shoot.

    It's for a longish-term gig that a few friends and I have been talking about that may, or may not, actually occur. Call it a labor of love.

     

    We have:
    1) A timecode enabled recorder (okay, okay, it's a Zoom F6 but it's affordable and I own it.)
    2) Two timecode enabled cameras, one a Canon C300 and one a Sony FS7.

     

    My idea is to have one Denecke JB-1 that I would just leave on, to act as a master clock, since I think that all of the other stuff's timecode clocks either stop or go off sync when the camera or recorder is turned off.

     

    The JB-1 "Prime" would run for the entire day while other things would be turned on or off and re-synced as needed (there will be some driving/sitting around on each of the shooting days).

     

    I figure that this "prime" JB-1 would be used to feed timecode to the recorder.

     

    I'd have another two JB-1s (one for each camera) to provide them with a timecode signal.

     

    Is this an okay scenario?

  3. 10 hours ago, TVPostSound said:

    I use the 21mm BBG with my 4025.

    One caveat, it's not good when moving.

    The BBG is secured only by a ring of rubber around the body of the mic, and hits the mic when moved up and down.

     

    Otherwise, its very good, as any Rycote blimp.

     

    Any ideas for a small blimp that would work with the 4025? I'd rather not get something as big as the Rode blimp.

  4. On 4/12/2020 at 5:04 AM, Philip Perkins said:

    We're looking at all of the above, depending on willingness and techo-level of the remote folks.  Many of them are recording themselves on their phones ("Voice Memo"), some are recording Zoom meetings various ways, some are mailing handy-recorders,  that get mailed back. One client has gone with a brace of these https://tinyurl.com/r28dttz

    A whole interview crew in one box!  He's mailing these to the subjects (instead of handy audio recorders)--they have to send them back or he sends a delivery service for them.

     

    Screen Shot 2020-04-11 at 8.00.16 PM.png

     

    Damn, that thing looks amazing, an interview crew in one box, and they're probably wondering why it's not selling as well as they thought.

     

    (Hey Zoom, it's because you've pitched it to musicians instead of TV networks and producers...)

     

    The should re-name it the Covid Live Remote Box.

  5. 3 hours ago, Trey said:

    Howdy Folks!

     

     

    Hello. Look at the Zoom F6.

     

     

    3 hours ago, Trey said:

    Yeah I wondered if they were "fiddly" or not.

     

     

    If you read the manual, it isn't "fiddly",  it's just the way it operates.

     

    (Driving a car with a manual transmission could be considered "fiddly".)

     

  6. A Sound Design Mix Pre 3II can record 32 bit float files.

    I use Logic Pro X for my sound editing and, as I understand things, it converts 32 bit float files to 24 bit while ingesting them.

    If that is the case, is there any point in recording the original audio file as 32 bit float?

    Thanks in advance for any information.

  7. I'm thinking of buying either a Zoom F6 or a Sound Design Mix Pre 3II, both of which can record 32 bit float files.

    Cool.

    I use Logic Pro X for my sound editing and, as I understand things, it converts 32 bit float files to 24 bit while ingesting them.

    If that is the case, is there any point in recording the original audio file as 32 bit float?

    Thanks in advance for any information.

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