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Everything posted by Freeheel

  1. Both ports do the same thing with timecode - they both generate or receive timecode. This uses the usual 5 pin Lemo timecode pin/cable configuration. The "Sync" output also outputs Genlock sync - if you want both timecode and genlock, you can get a cable with a lemo that splits to 2 BNC's, one with timecode out and one with genlock, (genlock makes your timecode frame accurate-which can be important in some applications) Your Mixpre does not have a genlock/wordclock input, so it won't make any difference to what you are doing. The "ACN" output provides regular timecode, but can also can be split to provide the proprietary ACN data feed for devices that can use it. If you didn't buy the lockit for it's ACN capabilities, then you probably don't need to worry about it! So it's kind of confusing because there's a lot of redundancy and multi use capability in that little box. You're using a small measure of it's full capability. I would suggest doing a bit of reading on this site or others about the difference between timecode and genlock sync. And if you really want to dive into the what the lockit can do, spend some time on the ambient site exploring the information about the ACN network. Cheers, Brent Calkin From Ambient site: Two Lemo-compatible push-pull sockets provide maximum flexibility and continued use of available cables. TC in and out follow industry standard and allow for syncing of 2 cameras in parallel or jamming via a cable while leaving the synced unit connected. The primary output carries timecode and genlock/wordclock. This gives you the freedom to choose running it either on straight, Y-split cable or 2 separate leads using the second connector for timecode which also connects to devices that support ACN for metadata transfer.
  2. The Sanken cables seem pretty resistant to the chemical attack I put them through. It's now 4 years since I first created this thread, and the lav treated with xylene followed by 303 Aerospace protectant has been totally fine since then. I've now shifted to the Remove wipes for regular cleaning, so I only used Xylene that one time. The lavs that I have been using the Remove wipes on have also not changed in character. I also tend to use a quick alcohol wipe after the Remove, as well, to take the moisturizers off, so the tape sticks properly again. My DPA Lavs don't get as much use as the Sankens, so I haven't had as much experience with cleaning them. Cheers, Brent Calkin
  3. Yep, just found another gooey Sanken in the drawer, with the cable itself starting to dissolve, and tried the Remove wipes as my first line of offence. They worked beautifully - no need to pull out the Xylene bottle! Another reason to love the Remove... Cheers, Brent Calkin
  4. Hi All, does anyone know what the runtime of the new Ambient ACN Lockit with the little np50 battery is? I’ve shot one day with mine and it definitely doesn’t have the 35 hr runtime of the nanolockit. In fact, it was dead at the end of the shoot day and I’m not sure when it tapped out... Cheers, Brent Calkin
  5. Had the first shoot with FX9 last week and it synced up fine. Just had to change one of the timecode settings in the menu- I think it was defaulted to REC RUN when first out of the box... Cheers, Brent Calkin
  6. Because we are generally there to tell the DOP how their camera does sound... but you're just trolling, right? I had this same issue on an FX9 last week. It has the weirdest, most non intuitive audio input menu setup I think I've ever seen on a camera, and that's saying something... Cheers, Brent Calkin
  7. It's not unusual to have the mic bodies affected by wind, as a number of posters have stated. The MHK 30,40,50 series all have a significant wind whistle through the side low roll off and pad switches. All my mic switches have a little piece of fuzzy side velcro covering them to act as little wind barriers in a pinch, and if I'm doing anything serious outside, the mic is is a full jammer. Maybe the fuzzy velcro would work better than tape on the xlr connector of the 8020? Cheers, Brent Calkin
  8. Thanks for the reply, Larry! Cheers, Brent Calkin
  9. Thanks for weighing in Larry. Is there any useful apples to oranges comparison with the analog to digital power level? I've noticed that 125mw in my (non Lectro) digital wireless does not seem to have as good range as my Lectros at 100mw, so I get a bit worried when I see the new Lectro digital radios at such low power outputs. I trust that you guys are creating new digital units that compete with the digital hybrid units effectively, but can you shed any light on range differences at the different power levels, and how the distance failure mode changes? Cheers, Brent Calkin
  10. I'm going to "+1" on Jez's post above. You've got some great gear to play with, and you should be able to create a system where you can quickly jump from mono boom to a M/s stereo rig, depending on your needs. This will require some quicklock boom connectors, and multiple mic windscreens, as well as premade cables so you can switch systems quickly. My daily driver doc rig is similar to what you have going, with a Sennheiser 50 in a light Cinela mount for indoor booming, a midsize shotgun in a Rycote for booming outside and a M/S Sennheiser 50/30 in a Rycote with a stereo cable and a light tripod stand. They all have quicklocks so that I can attach any mic to any of my booms or the tripod in just a few seconds. The other thing is to create settings on your mixer so that the transition between mono boom and M/S can be seamless by using one mixer channel for Mono boom and then a pair of different channels that are preset for phantom power and M/S decoding/monitoring... Cheers, Brent Calkin
  11. Fun to see this thread again 7 years later! I will confirm Philip's confirmation on the 744 being quite a nasty sprayer of RF when in a bag, and it was a big part of my push to quickly get a 633 seven years ago once I determined it didn't have the same problem. As Larry stated, the separation you have with your antennas should make the spray of the 744 pretty negligible. It generally only took a few inches of spacing to knock down the spurious spray enough to stop worrying about it. Hard to do in a bag, but not an issue with a 10 ft antenna. Cheers, Brent Calkin
  12. I would totally agree, David, except the one time I did record barnacles opening was 5 am on the North Coast of British Columbia, foggy, no wind, waves or swell. Occasional birds. The closest thing to a silent beach I have ever heard. (But I take your point as well. A bit of a rarity) Cheers, Brent Calkin
  13. My experience is the same as Trey. My Schoeps is marginally noisier than my 50, though not enough to notice in a dialogue situation. But if I'm recording the sound of barnacles opening on a silent beach, I'm going to be using my 50... Cheers, Brent Calkin
  14. I have a couple from the '80's that have serial numbers in the 28000, so if they are consecutive in any way, yours could be fairly old. (not sure how the serial numbering works for 416's) Mine has 3 of the round things on the circuit board, so 2 shouldn't be unusual. The "messiness" of the circuit board looks similar to mine, though mine has a significantly different layout. (Mine is also a T power to 48 PH convert, so all circuit layout bets are off anyway) Mine has the white fibre stuffed in the end. The machining looks similar to mine. My nose piece is way more concave, yours looks quite flat. I can't really say yeah or nay on it... Cheers, Brent Calkin
  15. Is this a specific SRA or are you asking generally? Many SRAs were upgraded to SRBs because Lectro offered a very generous upgrade path. The ones that were done in the States should have been laser etched with upgrade markings. For those done in other markets, you'll have to rely on the seller's documentation. Cheers, Brent Calkin
  16. Get a 50. And treat the room with some sound absorbent material- as even better microphones do not make reverberation go away. The 416 is definitely not a good indoor mic, and though I have not used one, the 8060 is also an interference tube mic, and though it will likely sound better than the 416, it is also not the ideal tool for use indoors. Cheers, Brent Calkin
  17. I like my 744t as well, and haven't tried to get rid of it. I kept it as my M/S machine as well, although the ease of routing for ISOs and iPhone entering Metadata has meant that my MixPre 10t is taking over that job... You can make the 7xx series fail. If you let the hard drive get more than 90% full, you can have a "Slow Media" record failure that can also take out the files on your CF card !!! Not a happy moment, when you realize that this has happened. The CF is not a failsafe media for the Hard drive... Cheers, Brent Calkin
  18. For a microphone cable that will see coiling and uncoiling, I'd recommend the Mogami. The individual balanced strands seem fragile, but I've got 20 year old Mogami Stereo balanced cable that is still fine. Canare, as Doug mentioned, is even more bombproof but doesn't handle nearly as nicely. I'd be a little wary of that particular Belden cable as a mic cable. It is designed for fixed installations, where the cable is only flexed once or twice when installing and then never moves again. It uses a foil shield that will break down if used as a run and gun stereo mic cable, which makes it's lifespan of RF resistance much shorter. Also as the foil breaks down, it will change capacitance when it's moved, which can cause crackly audio artifacts. Cheers, Brent Calkin
  19. Check the capacitor that connects the antenna to the circuit board- if the antenna gets hit, it can crack the cap which can make it intermittent and give you a result similar to what you are describing. Cheers, Brent Calkin.
  20. Yes, indeed. Thank you Martin.
  21. A few points about the tubular style battery holders with the teeth that shred the outer casing of the battery. The reason I use them, despite their destructive nature, is 'cause they are way more convenient to grab a single battery with one hand, while moving fast on a doc shoot- I can't use a battery case with a lid that holds 4 batteries- that's a recipe for 3 batteries on the ground and one in my hand... Also they are great for showing you which batteries are charged or not depending on which end is stuck in the case. But they sure make a mess of the wimpy plastic sheath that rechargeable batteries are wrapped in... which can lead to dead shorting batteries in some (badly designed) metal lined battery compartments, or, more likely, bits of plastic sheath covering the end terminal and interrupting current flow, or just bunching up and making it hard or bloody impossible to get the batteries out of the device they are in. To deal with the problem of the jaggedy battery tube: First, you can dremel or cut the "tooth" to be smoother and not as big or abrasive- be careful about cutting too much off, since it will let the battery fall out. This lets you do the one handed battery change, although it is still possible to do damage to the battery over time, 'cause there is still some friction. The other trick is to bend up the "tooth" (which is on a flexible tab) with a fingernail of the opposite hand that is grasping the battery while inserting or extracting it. It's not too difficult, though it takes away the ability to do a one handed battery exchange. This is the way I do it when changing batteries in a non hurried fashion at the beginning of the day or lunch... These might be super obvious tricks to some of you all- but it took me a while to figure them out, and a lot of damaged battery casings, so I though I'd share, especially since it's often the tiny things that can make a big difference... Cheers, Brent Calkin
  22. Short answer- All things with lithium batteries, as well as loose lithium batteries, should be hand carried into the cabin. No battery quantity restrictions if they are under 100 watt hours. All loose batteries should have their contacts taped or otherwise protected from shorting. All fragile things that will stop your shoot if they get lost or delayed in checked baggage should be in the hand carried into the cabin. Make sure you pack your carry on so that it's not too dense for the scanner- or that you can easily separate the contents. Boom pole might get rejected at security so put it in checked luggage along with everything else that you trust can take a 5 foot drop onto concrete. Keep Cheers, Brent Calkin
  23. In the first 2 weeks of my 633's first film shoot, there were 9 glitches- they all happened on day 4 of shooting and had pretty random groupings with 2 glitches on 1 take, 4 glitches on another, 1 glitch apiece on two more takes, and 3 glitches on another take. I was using Lexar Professional 64 GB 400X speed SD cards and Sandisk Extreme CF cards- Both were approved media at the time. Both types of media had the glitches in the exact same spot, when I put the files up on Protools.... Cheers, Brent Calkin
  24. With the Mini series, Arri is obviously trying to beat RED for the title of "weirdest, most changeable, and most annoying audio inputs" ever found on a camera. At least the LF mini has the input in the back side rather than in the front face where an audio plugin interferes with the lens mounts... Cheers, Brent Calkin
  25. Hi Palmer, the static noise on the file that you describe, is similar to what happened to my 633 when it was very new. Occasional random white noise spikes simultaneously across all channels of the audio files, with no indication while monitoring the original recording. In my case it showed up on both the SD and CF cards, which were both recording 48k 24bit. SD said it was an intermittent problem in the main digital bus and quickly replaced my entire mixer with a new one. (it was under warranty at the time) Terrifying problem- I'm glad I've never seen it again on my newer 633. Cheers, Brent Calkin
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