Philip Perkins

What do you mean by "TC"? How many camera-TC boxes? A TC slate?

I only need 2 TX, with a required range of about 25 ft, indoors but downtown. The equipment that's available can only legally work in the DG, not that it would probably work very well outside of that range anymore in an urban setting. That scan was Lectro B25? thanks dudes

Can an SD recorder that uses CF cards (the oldies) also use the new CFx cards? I realize the CFx cards are longer so the slot door on older 6xx machines would have to stay open...

If you don't need 8 tracks then you can get a 744T in good shape very cheap these days. Just as solid as the 788.

Those are both great recorders, but if you are looking for a good deal on an older file-based audio recorder I'd suggest finding an SD 788T. I would guess that there are WAY more of them around, there are way more techs who know how to work on them and they are still supported by SD. There may be a few tricks that the Deva V and the Cantar X can do that the 788T can't but not many...

Chicago-area mixers: is the "duplex gap" 653-663 usable at all downtown, or has it been stepped on? thanks!!

Link worked for me just now

I'm really sorry to hear that all those vans are going EOL. Back when I got my FTC there were very few options for small vans, so I had to pay a lot more for mine as a used car than I wanted to and take it with more miles than I wanted it to have. Do the major auto makers expect that all work vehicles will be pickup trucks? I'd be interested in an FTC-sized electric van but know it will be really expensive vs a gas-powered one, for the next while anyhow.

Me too.

The Astro was a really good design for working--I had many sound/video location pals who had them. GM just kind of failed on the crashworthiness of them. I had an early Ford Transit Connect, and was in a pretty major accident in it. It did the correct fold-up crash-absorbing thing and I was only shaken up, not crushed by my equipment package. But the "multileaf" body design (I guess you'd call it) that protected me from a vehicle twice as large and more than twice as heavy as mine meant that the insurance co. took one look at the pictures and pushed the "totalled" button. I would recommend that anyone frequently driving a work-van with a seriously heavy gear package on fast streets and freeways invest in a steel barrier behind the front seats. This helped save me in the Ford Transit accident, and years before in a similar accident in my Econoline. In the aftermath of the Econoline accident I found a decent sized dent in the steel wall behind my head made by a heavy-duty metal-cornered case that broke loose in the hit. Close call.

The Astro was a really good work van that could kill you.

So for the first 2 days the JBs worked ok? If so that sounds like a camera issue. Did they sneak in a firmware update on you?

Zax got there first, folks. A pisser to many, but that's how it is. Would we prefer a system where larger co.s could just run over smaller ones and steal their tech? There are many such countries that operate this way...the USA isn't one of them, so far.

Maybe that's why they updated their "no politics" policy on their landing page? I'm glad whatever bow-wow that was didn't spill over into the "Remote Recording" forum!

It just came back for literally a minute then went back to "too busy" again...

I keep getting "server too busy" error messages on Gearspace the last 2 days--has anyone else seen this or know anything about it?

I hope they do make a new version so I can scoop up a used RX4+ when Sax fanatics move up!

I do this all the time, with WC+TC. The sets of files form the 2 (or 3 or 4) disparate machines snap into dead sync in the DAW via their TC.

If the DJI who makes wireless mics is the same DJI that makes drones then in using them you are opening you and your audio to being listened to by the Chinese government. They may not care about what your talent says, but I'd bet they left themselves a back door to listen if they want to. Re: AVX: Luke Seerveld, a gaffer who does the very excellent and long running "Meet The Gaffer" blog series does all his interviews with AVX. He is very careful and his audio sounds just fine. All short range and generally non-time-critical, a perfect application for that technology. His shoots are not like pro location dialog recording jobs, to say the least, and he has told me that he would not recommend the AVX for what we do.

2 GB total file size has always been a limitation of OMF, PC or Mac or etc. I was told that back then no one thought an larger export would ever be needed.... The way to get around this is to not use "bento" or "all in one" style exports, but instead ask for a separate OMF project file and a folder of audio files ("separate audio" in Premiere-speak). This generally works pretty well for me. If your editor is on an Avid they will give you an AAF--no choice about that anymore.

Really cart-friendly sized...

I had a Mackie MCU in the studio for a few years, and it was very laggy, not great for a real time mix for me anyhow. It's also kind of big for cart-world for what it does, and it has a lot of buttons etc that you'll never use. I doubt the display would be very readable in direct sun.

It is very possible that it is a Premiere change if you are operating exactly as you were previously: Adobe breaks things in Premiere all the time. You could ask for an AAF export, and/or try AATranslator as a way of correcting and converting exports to something that will work for you?

Sorry I sold the PSC M6 (the retro-Sela look alike) a long time ago. Once both PSC and Adam Lieberman went through it I liked the sound of it very well: "big iron" with lots of transformers. If you can find one cheap it's worth looking into if you can live with the form factor (highly weird for how carts seem to be set up now), overcome its lack of buses and "2-track-centric recording" format and that it only has 6 inputs. If you see one out there with a Hirose per-channel direct out mod and a "mix bus input" it might be mine! I'd guess PSC would still help you with mods and repairs.

There is another factor as well--that of a payroll company which may sit between the prod co and the crew folks. These companies can be very hard to communicate with, have payment policies of their own and have to be included in negotiations about changes to client payment policy. I also suspect that both the client and the payroll company may be engaged in "ageing" invoices to make interest on the up front money they've already been paid by the "ultimate client" (like a studio or network etc).