rich

now. if only they'e put a 4pin xlr input so it will work on 12v dc…

i've used powerpoint before, putting each line into a separate slide on PP and using a modified laser pointer/trigger to cue the next line. which means that the director (or yourself or the 1st etc) can trigger the next line at the appropriate moment. this may not be the cheapest way to do it - we only went down this route as i had MS office on my mac already, but it worked well and everyone was impressed with how it worked for our situation - a man in a full skull mask, dressed as death and acting to pre-recorded dialogue. it also means that, should anything stop working, you can blame bill gates and everyone will be understanding

thats what i thought. often when i do 2 man crew stuff i'll roll bars and tone whilst the camera op is doing their lighting thing - after first checking theyre ok for me to do so. though i mainly do it to look busy, rather than sitting watching someone else work once im set up. on jobs where there is a camera assistant, then usually i connect up, set levels and wait to be asked for tone. but i have never heard that it is my responsibility to run bars and tone, i just do so sometimes to help out

did he just mean run bars and tone? or pre-record a timecode track (from the reel to reel multitrack studio recorders)

ahh. thanks

um. forgive me if i am asking a silly question here. but can the files not be imported into the project either directly or by transferring onto the edit systems hard drive? or is the .1% telecine an online only process?

check out http://www.jwsound.net/SMF/index.php?topic=1537.0

when i use hd25's and they get intermittent, i find that pulling out the earphone plug and gently spreading the pins often helps.

does anyone know if the sanken cub mic will work with the trx900? thanks and happy new year

i did something recently in gibriltar with some divers. one of the divers brought along a communication system which allowed anyone on the dive boat to communicate with the divers, as well as the divers with each other.it was a full face system and involved a transducer (if i remember correctly) being dropped into the water. the part of the system that was with us on the boat was quite small, had a speaker and microphone on it and audio outs (cant remember if they were xlr or phono though. sorry) though we ended up mocking up the topside conversation after the dive, though with thedivers still in the water for the comm system to work, and just picking up the diver part on the conversation on the boom. sorry i cant remeber more about the system, but there are systems that will work - assuming of course that some-one will pay for it if the divers dont already have something like that. also, bear in mind that if you waterproof a recorder and send it down with a diver, the waterproofing should be able to withstand the water pressure too, so something like an aquapack may not be up to the task. good luck

if you look in the instruction pdf for the 900 system. there is a little 5 pin lemo on the receiver that i was told in the future will allow you to receive timecode (and video sync if i remember correctly) from the trx900 which in turn can be sycned from the ifb100. so i imagine that once (maybe if) this add on becomes available, then this will allow you to sync the cameras to the deva's timecode.

i have noticed similar things with my audio ltd / dpa 4071 setup. and when i use sankens too. but when i get them home and check them side by side, they sound pretty much the same. i would expect the difference's in sound come from the mics different positions on the talent - how much of the ambient sound is being blocked by the wearer, and which way they are facing relative to the ambient noise. its at times like that, that an extra track for the boom(should you be recording on a hard drive), or even a touch of the boom in your mix may help to even things out. or a wildtrack and let post sort it out (or not)

ive done a few band recordings using 3 sqn's grouped together. we were all pleased by how good it sounded. i just helped a fround out with his bands EPK. we used 3 sqn's and my sd mixers as preamps and a big ol mackie to mix. it all sounded pretty damn good.

http://mixonline.com/news/headline/sanken-cos11x-lavaliermic-092507/ or at least foul weather proof

i was trying to wave a boom at it but the techno crane and having the actors further out into the water than i could reach with the boom hampered me somewhat. and i wasnt too keen to do too many passes whilst in the water up to my midriff for a scene that will be ADRed anyway. (but if the producers read that, then i didnt write it)

we had a scene a few weeks back which involved 2 actors hanging onto a log as it was being swept towards the edge of the world. i used my audio ltd 2000's in aquapacs with countryman b6's. i then had the aquapacs in traveller's money pouches under the shoulder. i used the foam pop shield on the b6 so that after the mics got submerged, there wouldnt still be a little drop of water on the capsule which would make the mic still sound like its underwater. whilst it didnt work as well as i would have hoped, i do have a few ideas for next time. make sure the mics are as high as possible so that they are out of the water for nearly as long as the actor is. i would try and get an antenna extension cable (like audio part# 900-097) so that the antenna could be equally as high whilst the Tx is still securely mounted. i also like the idea of the zaxcom recording tx but it wont stop the script super and director etc complaining that they cant hear anything over the noise of the 7 outboard motors rigged up to create turbulence, once the tx is submerged. but you'll probably be luckier than we were on that one.

looks like only the k-56 is the only one that will. unless the larger ones fit on the diagonal. i ended up buying a vdb s/cl pole as i extends to an almost usable length and fits into my 1510 or 1560 cases. though if you mean the 1650 case then you will get a much larger pole inside. otherwise, there's always your suitcase. or the tripod tube

a mixer that i boom for has a couple of uhf 2000's. ive been using one of them for my feed and am really happy with it. not too many hits and not bad range. i saw 3 2000's on bblist which the mixer had been using for ifb.

how about putting some ballast into the battery compartment of the zaxcom receiver though i've no doubt that there are complaints about having the zax and big battery to power the whole thing

what extension does the fr20001 file have? if its not wav, maybe changing it to wav (or adding wav may help). probably best to try it on a copy of the file though - just in case

thanks Jeff. thats just what i feared. something else that I'll want but dont need. and i bet that it matches nicely with the 4071s

anybody checked out the new dpa 4017 shotgun? http://blog.mixonline.com/mixblog/page/2/ about halfway down the page.

i have 4 dpa 4071's and 2 b6's. the 4071s are roughly equivalent to the 4061 in terms of output level and the b6 are grey banded. i cant say that ive particularly noticed either to be noisy or much of a difference in noise floor but if i get a chance, ill do some a/b tests tomorrow. I do run my audio 2000/2040's 2 steps higher for the dpa to get similar output though.  in use i much prefer the dpa's - they do sound fantastic, and the accessories that come with them are pretty good - ive had good results with the wind gag. but they are quite large - especially compared to the b6!  when i was looking at getting mics for my radio's, i checked out the 4061 as well but felt that the 4071 was a little more natural than the 4061 with the mid presence cap which gives them broadly similar results on the high frequency part of a graph - there is a bass cut on the 4071 at around 200hz  i did a job recently where i needed 4 radios but only had 3 dpa's available, when i faded up the b6 (with the +4 cap) it was really noticable how flat the b6 sounded in comparison to the dpa. hope some of that is useful Rich

with the zaxcom system, as it transmits digital data not audio like an analogue tx (lectro, audio ltd etc) would a scanner not pick up digital data - remember loading programs on your computer from tape? and you would need a zaxcom reviever to decode the transmission. another thing that just popped into my head. is/could it be possible to slave the remote roll and cut function to your master recorder in the same way that you do with a slave recorder

Hi Keith. i have sent you a private message with a link to my CV. I guess it never hurts to self publicise