BAB414

Yeah, all those direct out cables add a lot of weight too in addition to the batteries.

I have a love-hate relationship with Nolan. I love Memento, Prestige, Dark Knight, and thought Inception, Interstellar, Dark Knight Rises were misses. He certainly is a genius, but Tenet (his absolute worst film in my opinion) has other MAJOR issues not related to the sound mix. I'm shocked and disappointed about his seeming lack of understanding about the sound mix in general. He calls the audience "conservative". How does he not understand one of the oldest cliches about filmmaking: you can do almost anything you want to the picture, but the sound has to be solid or else you're watching something akin to student film/youtube video (or something like that). He only seems to just be learning that now. Maybe it's a product of being at his level, surrounded by yes-men, but besides the Mumblecore movement, I have not seen this kind of issue with any other filmmakers. Edit: Let me add - In an early interview with him, he talks about production sound and ponders why more sound mixers don't use the "4-1-6" microphone so he clearly has opinions about how sound is captured and thinks he knows it all (though he probably does know more than the average Joe). There's stories about him telling the Dark Knight Rises team where to put the lav to capture Bane's voice from behind the mask. Didn't work out so well. I've also heard he fired the production mixer on one of his movies.

I'm wondering if night and day is the difference between useable and unusable dialogue because I've been rocking HMa's since they came out with no issues and know a bunch of other mixers who use HMa/HM/UH400a's as well with no preamp in between.

Same company - http://www.soundcart.tv/ I got a MiniCart from them and love it. These carts are not made to order (though I think you can get some bespoke specs if needed) but they are designed to be modular so you can set them up exactly how you want .

I have these filters and when using them together with my 3dB pads, I have seen definite improvement of my RF system overall.

I have the ALP620s on my cart that are great and I have powered PSC UA874's that I was remoting until recently. We figured out the hard way that if the UA gets tilted up or down, we get crazy interference. Can't speak to the specific model OP posted about.

Anyone with first hand experience with these guys?

Thanks for sharing. That is wild. Never seen the pyramid before. Do you happen to know if the SRb's are as susceptible?

Yeah, I'm just wondering if the proximity of the 744 to the Venue2 itself might be causing problems. The 744 is on top of the 664, which is on top of the Venue.

Thanks for this. Very good to know. NYC is super tricky.

Where did you get this chart? If I had to only go with the small bands that are "Available for Wireless Mics" I wouldn't have much of anything. Yes, I do at times transmit in or near the public safety stuff, though I try not to go so low. Still, seems like there's not a lot of clean stuff...anywhere. You're probably right about the repack. Yesterday I tried scanning with my recorders on and off and saw very little (if any) difference. However, I put some 470-614 filters in and started to find a few areas with seemingly no noise floor and experienced no issues. Sometimes I'll run 100 feet of Ultraflex 240 to active antennas and still have similar issues I described earlier so I don't think it's the passive fins or the 10 foot cable. Obviously, there are always Walkies, Iris transmitters, teradeks, follow focus and HMEs in addition to shooting on a stage near 5 other shows so it very well might not be a problem with the gear at all. Just congestion. Still, I'd like to increase performance and the filters seem to be a good start. Thanks Philip. I just bought some of the cloth. Is it supposed to act as a barrier between the receivers and the RF Sprayer or should you just wrap the culprit device in it? Or just the receivers? Thanks Karl - Just ordered x2 -3dB attenuators. Moving forward, I'll have the attenuators and filters in line. If I'm still having problems, I'll try to separate the 664/744 about an inch away from the Venue2 and put the RF cloth in. Thanks everyone for your help. Even with the antennas remoted, can the SD RF spray still mess with the Venue2 if it's touching or right next to it?

Reviving this thread. On my cart I have 2 ALP 620 shark fins 10 feet in the air feeding a Venue2 with VRT2's, using a combo of SMQV's and wideband transmitters. I operate in A band and block 21. I work in NY and I haven't had too many unusual RF problems over the past few years. Now that I'm back to work, I'm noticing a lot of RF problems that just shouldn't be there. Signal that falls below full (down to 60% at times) when I have line of sight to the transmitters and some fuzz/snow/pops and it's been more than a little frustrating. My utility and I are constantly troubleshooting and trying to follow best practices. It occurred to me yesterday that maybe I'm getting RF spray from my 664 and 744 which sit directly above the Venue2. Is this a possibility or do the shark fins being up high circumvent that? And does anyone have access to any charts/specs on the SD rf spray? They've taken down their page on the 744 spray, I'm guessing years ago. Why would they do that?: https://www.sounddevices.com/notes/recorders/7-series-rf/ Thanks, Ben

Thank you as always Larry.

Should I be terminating unused ports in an active splitter to minimize loss?

This is the receiver I've been waiting for. Thank you so much Lectro. Interested in pricing!

Thanks Karl. I understand.

Larry, it looks super impressive. Kudos to you and the team. I hate to be that guy requesting features before it even comes out, but would there be any way for it to emulate (might not be the right word) NA/NU mode for my Digital Hybrid Wireless transmitters? Essentially, to receive from the legacy transmitters. Manual points to no. I was just talking last night about needing a small receiver with this frequency range for monitoring talent wireless while we're wiring. Keep up the great work!

Wow! I had no idea...but is it compatible with the older hybrid modulations (400?). It appears not. But if so, it's a real winner.

LR sized receiver covering A1+B1

I just got one and I calibrated it to the Audio Root Bag distro and things seem fine so far on my end. Nothing strange regarding voltage.

Any spoilers?

I'll tell cam dept to run TOD

Here we are 7 years later. Any 48fps yet?

Thanks for the wise words. Motion capture is how they shot Avatar. Motion control is pre-programmed computer (and timecode) driven camera moves. I'm doing the latter. In Reaper I plan to have Music on Track 1, LTC TC on track 2 (either pre-generated in Reaper or downloaded for free with http://elteesee.pehrhovey.net/) Audio then goes out through my interface where I'll send LTC timecode directly to the motion control rig to trigger it. TC will also go out to a hop, being received by the slate for visual reference to match to the song in post. Meanwhile, the song goes into my trusty old 552, being mixed out post-fade to a hop to record to the camera, a big speaker, and VTR. Since we're not recording any sound, there will be no secondary timecode and no TOD. I don't know about jamming the camera as well or just letting that go. I think another thread here said don't worry about camera's tc metadata. I'm a bit confused by this. There will be a unique identifier in that the slate will have different info on it each time (take 1, take 2), but the only footage recorded is in camera. Am I missing something?

Reviving this thread - How "stable" is continuous timecode coming out of Reaper on a 2018 macbook pro? Will there be any lost frames or skips? Is there a more stable way to do it that won't involve audible scrubbing that comes with a 7 series recorder? Any other gotchas when it comes to timecode synced motion control? Thanks