carbonhobbit

Had a Soundbag Dashboard 664D milled down to fit my Petrol 614. Makes for a tight little set-up for my SD 664. Scott....

The option 7 receiver says it is a line level output. I would think this wouldn't work with headphones.

Maybe a case was broken and a transmitter was cased in a receiver's case. Plug the input cable into it and see if it transmits to the one working receiver.

Depends. How much you use them. Charge cycles. I have some that I bought in 2007 and I can still get four to five hours of them. I also have 9 volt lithium from 2000, some are still going, some died. I think it's like licking a tootsiepop, the world may never know. Scott...

Experience begets experience, you now have one day under your belt. Your mics that you have chosen each have their place. A lot of dialogue is recorded with the 50 and you can use other mics if you need the reach. There is no one right answer, but at the same time there is not always a wrong answer. As you work with other mics, you will find the mics that you find work best for your location. Good luck on your education. SL......

Once you are on your skies and tethered up to the camera, you can just let the camera op pull you around. L&D the snake when you are done. Scott......

An entryway to a building standing in the threshold. As a mother would say,"Are coming or going, make up your mind." Scott....

The other company I work with does accept sound reports from me and the 2nd AC does detailed camera reports, but I hear that during edit they still wade thru every take to make sure they don't miss the perfect take. I'm amazed that the Red camera hasn't adopted some form of input where they could have the take names the same as what I enter into my SD recorder. But then I could see where the AC's would complain that they wouldn't be ready when a take's name would change at the last minute. The glares I get when I'm trying to change a file name can be unnerving. It would be cool if one person could enter the take name somewhere and it would be update to all devices through a two way communication system. I just don't know if this person would be the DIT or maybe the script sup. Just as long as everybody doesn't have to input by themselves and all have the same meta-data so that someone doesn't get left out of the chain. That way when edit gets the files all the file are in agreement and the software would match all the files together in sync. Scott.....

After working on a project where the production company lives with plural eyes and doesn't want to be educated on the ways of slating with timecode, I don't know how you push this idea when the production company sees the work flow as a waste of time. I myself don't believe in this idea, but I have learned to go with their flow. Scott......

I heard sometime in July.

I'm thinking that since the four pin only received TC, they had to go with a real 5 pin plug to the camera so it can now feed out time code. The Pro back has both in/out TC now. This doesn't bother me because I already have both cables. If you are on a Red shoot, bring everything. Scott.

If you could feed the tc from the slate back into the 744 and then look at the jam menu to see how far they are really off. If it is off, the 744 will tell you. Scott....

One time I didn't get my boom plugged in quick enough and the sound just puddled onto the floor. Real bad mess, I just walked away. Scott.....

I would enjoy working with either Jan or Jeff or just to be a fly on the wall for a week and be able to ask questions as they popped into my head. Scott....

Why throw in the towel just because the kickstart didn't work. Think how people got things done before kickstart. They saved up their money and made it happen themselves, it just might not have happen over night. You have made a water resistant time code slate, you showed it would work. You know where to go to get the parts made, you made a working model. If you believe in your product, find out how you might able to make a few at a time instead of 100 or 500. Sell those slates and take your profits and invest in more parts to make more. If the first buyers rave about how they don't have to worry about the slates in wet shooting locations, more folk will come to your door looking for a new slate. If you can really make one for half the price of other slates and are able to turn a profit, you might have something there. If you are just trying to make a low price slate that you lose money on each one made, you'll put yourself out of business quickly. Almost the same story about trying to undercut other mixers on the price you want to work for. Don't be a sad panda. Scott.....

Since you are going to have to rent the equipment anyway, go to one of the local sound rental houses and explain what you want to do. They should be able to rent you a time code generator and also the right cables you need to attach everything together. Do not leave the store until you understand what they are telling you. One way to go is set Time Code Free run to one of the cameras, it is the starting master. Jam the time code to the generator and then jam to the second camera. Take the generator and plug it into your 552 and leave it hooked up and running the the rest of the day. If you need to re-jam the cameras, just re-jam from the generator. Scott.....

Don't forget the gauge of the wire in the cables. Different sizes cause the electrons to speed up or slow down. To much one way or the other can effect the speed of the sound reaching the recorder, sometimes throwing off sync to picture.

I suggested one of these when the mixer/recorder came out. I would like to see a new update for the 664 that addresses the date problem and a track naming problem. A dashboard design to hold three 411's over the 664. A low profile right angle XLR that isn't DIY and can be torn apart easily for repair. Scott....

If it glows that much, the grips with encase the sound department in a sea of flags. Where ever I stand on set, a flag or light soon grows. Scott....

In the land of Buffet, there is only OMBs. If or when a boom op is offered, trying to find a boom op that knows what they are doing is almost impossible to find. It would be better for me to be the boom op and let the other person operate the rest of the equipment. I've tried to explain how the audio could be better with a larger sound crew, but it falls on deaf ears. I have very few if any people ask me how to become a sound person, if fact, I'm getting asked more and more of what my "other" job is. Little do they know I make more than most people working twice as many days as I do. In my market, it is getting harder finding people wanting to work in the G&E departments. Most are wanting to be the producers and directors and camera operators and are already shooting stuff at Craig list rates with their own 5Ds because they have never been around a bigger set. Even when I work on the national news, we are only seeing older crew because the younger crowd doesn't want to buy all the equipment that is on the list and only get a fraction of the rental back. I also run into the out of towners that don't believe me that there are only three of us in town that own a mixer/recorder, over two wireless mics, a couple of boom options, TC slates and comteks, Drop the recorder, and I can only add two more people to the group. Then to ad a reference is hard because we have never worked with each other. It is not easy to do this job in the smaller markets with a crew or not. Scott.....

If you stand at one of the poles of the earth and then walk a five foot circle around it, what time would your watch show if you had one of the new GPS watches? If you ran in a counter clockwise direction, could you go back in time or into the future depending if at the north or south pole? If I buy all the right equipment, will I be a pro? You can filter out that noise, can't you? That's not a problem, is it? How much money did you have for ADR?

Would hope it would cut down rolling on rehearsal and just letting the camera roll. Almost like shooting on film.

Those jokes will run flat.

Dion was in one of the doorways into the store and the robber ran for the same door as the police fired on the robber. This put Dion in the line of fire with nowhere to go. He could have been turning to leave when the bullet caught him under the armpit where there was no armor. Sad day in Omaha. I've been an ER room when a person was brought in with the same type of wound. The ER team would have put up a great fight to save Dion, but bullets coming in there have a habit of going through all the organs you need to live. When it was over, it effected everybody involved. I have never forgotten that day even though its been more than 10 years ago. Scott....

I think it comes down to the idea of since you don't see the camera or the lights in the shot, you shouldn't see the mic. Just the other day I saw a report on powder caffeine where they hid all the mics. Made the news story almost unreal in my eyes. The average viewer wouldn't notice either way. Other times they work real hard to get the mic with the flag to id their station. Scott.