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    Freelance Cameraman
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  1. https://www.lectrosonics.com/phocadownload/um400aman.pdf Mic termination and wiring diagrams start on page 11.
  2. I'm running the newer iPower 800mAh batts.
  3. Base 16" 'PRO' is $2499 and 'MAX' $3499, respectively. Keep the drive to 1TB and even a max 'MAX' is only $3899.
  4. Hey Larry. These are actually lithium batteries, not NiMH and I have the receivers set to lithium batts.
  5. I bought the new iPower Max AA 1.5V 2600mWh Li-po’s and they seem to be good, until they aren’t. Meaning the battery meter on my Lectro’s don’t work with them(properly) and there is zero warning of the battery dying. The transmitter is there and the next second it’s gone/off. I can put hot batteries in and the Lectro meter will show 1/4-1/2 down in a matter of minutes sometimes, even though the battery keeps going for hours. But one of my audio guys has said he’s never had rechargeable’s of any kind work properly with Lectro Rx battery meters. He just sets a timer and changes them every X hours. Also said he’s considering going back to throw-away Li’s. I hope I didn’t waste hundreds of dollars on rechargeable’s…. What power setting? 50mW?
  6. And most cameras don’t record audio when shooting high-speed, so it still wouldn’t have gotten anything from you. I often (semi) joke that my $30K-$40K+ broadcast/Cine cameras can’t record audio when over-cranking, but my $1K iPhone does.
  7. Cameras don't run free run TC in high-frame rate, so it's not going to be locked/sync'd/jammed to anything else, anyway. That being said, its TC will be based on its base frame rate/project frame rate, which sounds like it was 23.98. And it wouldn't have accepted it anyway, because the camera would have been running in record run TC. But you would have/could have thrown a monkey wrench in the works, especially if you forgot about the frame rate mismatch and the op switched the cam back from high-speed/over crank to real-time 23.98 and then the tentacle is trying to send it 29.97(cam probably would not have accepted it, though).
  8. Oh God…. I don’t even want to think about the possibility of that.
  9. I can't lie, I do have my concerns. We've all seen it numerous times, when small(er) successful manufacturer gets bought up by conglomerates, things often change. And not always for the better... *Cough, cough, VITEC, cough, cough*
  10. Yep. I'm using my SMQV's with the 822 receiver, while I "migrate" to 'full digital'. I had fully intended to buy a set of DBSMD's this month and probably a set of DPR's by the end of the year to make a complete 'fully digital' set, but I just bought a new lens, so my plans may have changed.
  11. I've never bought any of the lower-end Lectro stuff. The L series were/are big and I never really liked the design. All of my transmitters are "old school" 400 series or SMQV's and SMDWB's. If you're going used, I'd look for a UM400a(if $ is really tight) or SMQV. Yeah, they're only single block units, but the SMQV's can run at (up to) 250mW, if you need it. And the nice thing I like about the old 400 series, the physical power switch.
  12. The UM400 was pre-servo bias(UM400a is servo bias), so if a mic was wired to work with the 400(and also not universal), that would cause issues with a servo bias transmitter(LMa is servo bias, as well). And I could be wrong, but I do not believe the MM400C is servo bias, so any mic wiring advice applied from that would be in contradiction to what is needed/optimal for a UM400a, LMa or any other servo bias transmitter. I would definitely make sure to get a lav wired specifically for servo bias and give the system another shot.
  13. I run my TS-C in 'Auto'. Never had a problem when jamming from a Tentacle.
  14. The two cameras that I use the most, the F55 and Amira are both 24 bit/48Khz. Even the much less expensive, but insanely popular Fs7 series cameras are 24/48. Although the original, and also insanely popular, C300 was 16/24. I’d say most modern, “real cameras” are all 24/48(some are even AES compatible) and no one should really have a problem using their audio tracks, especially at line level from the mixer and you don’t exceed the number of camera audio tracks that you can independently feed independent sources to from the mixer(i.e: you’re basically iso tracking in the camera, too, which is easy enough on things like interviews).
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