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Jim Feeley

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Posts posted by Jim Feeley

  1. I'm extrapolating from what little I know, but since witnessing something kinda maybe similar, and since cheap(ish) d-tap/p-tap camera batts are increasingly part of my little world, I've learned a bit that *might* be relevant. Short version: D-Tap/P-Tap cables and ports aren't optimally designed or made...and different brands of connectors and ports don't necessarily connect cleanly...and all this can cause shorts. I have no idea if this is what you're dealing with Brian. Best of luck.


    If your were powering your R1a units with the same battery used to run the camera, maybe the p-tap cable shorted the R1a units? I'm pretty sure something like that happened on to a C300 a few years ago on a job (not my camera or department, "luckily," but all around bummer). So the camera battery that powered the camera had a d-tap port that was used to power a small monitor....and when plugging in the d-tap cable, the SDI BNC port on the C300 went down. The camera had to go back to Canon for repair. That's the only incident I've witnessed, but I've heard of people having the same problem with d-tap/p-tap connectors powering external monitors leading to fried camera SDI or HDMI ports on a few brands of camera (paraphrase: "This all worked fine for months...and the all of a sudden..."). Arri and Red both warn about stuff like this. And while I haven't heard of issues with RX, maybe...


    Apparently, when connecting a d-tap/p-tap cable to power, sometimes the d-tap/p-tap positive pin connects before the negative (especially on crappy or damaged connectors), and if the same battery is powering both the camera and an external peripheral connected through a BNC, HDMI, and perhaps audio port, then that port is used to close the circuit and sometimes fry the port (and perhaps peripheral). Not sure that's clear. I'll embed a couple links that explain things succinctly.


    So when using a single battery power to power both a camera (directly) and a peripheral (monitor, rx, etc) via d-tap/p-tap, first connect the battery to the camera, then connect the d-tap cable to the peripheral. And only then connect the audio (or monitor) cable to the camera and peripheral. When disconnecting, disconnect the audio/monitor cable before unplugging the d-tap cable. Or power your RX/monitor with their own batteries...


    Here's a three-page PDF from Arri titled "Preventing Damage to SDI outputs"



    Red has similar info:



    Here's a one-minute video from Arri explaining the SDI short problem (google doesn't show the video on YouTube, so this might not embed):




  2. 9 hours ago, The Immoral Mr Teas said:

    Not a comment on the utube vid posted by Mono above, but the same Zoe Laughlin did a BBC programme a couple of years back on 'How to build ... Headphones' ... The actual drivers... came off the shelf


    Sigh. That sort of thing disappoints, me too. I saw a YT video (or series) a few years ago that claimed to show a guy building a camera from scratch. I was kinda "ya right" and then yep: He harvested a tree for the wood for the body, and then melted sand and borax etc. to make glass for the lens (and I think made tintype plates). Not sure this is the same video, but this one is pretty impressive. Also 22min long.



  3. Scott Shepard sells a bunch of different mounts for ORTF, NOS, XY, etc. through Shapeways. 3D printed. 



    And when I search Shapeways for ORTF, I get 117 results:



    Many other choices, of course. From Schoeps, K&M, etc.





  4. I *think* the Super-Shield and the Super-Blimp are mostly the same. My memory is the the Super-Blimp was made specifically for some Rode microphones...perhaps it was some sort of cross-promotion or bundle. Maybe check to see if they have the same strength Lyre mounts... If those are the same (and they're what you want for a 416) and the Super-Blimp is a lot less expensive, then maybe it'll work just fine.


    Perhaps compare the isolation you get with the Super-Shield's cable compared to Rycote's (more expensive) Modular Windshield with its conn box.



  5. 14 hours ago, TVPostSound said:

    Pretty poor noise reduction going on there, sounds like early Protools DiNR watery algorithm.


    Huh. I had a different take. Considering how noisy drones are and that the noise reduction was pretty much real time, I thought the noise reduction was pretty impressive. Sure the dialog didn't sound great, but it was fairly clear. And as a device for search & rescue (which is one of the described uses), perhaps it could be useful. 

  6. 10 hours ago, Philip Perkins said:

    Really?  That doesn't sound like Aaton....


    Maybe a mix of the first Cantar being pre RoHS (ie- perhaps some parts weren't compliant), and Aaton being acquired by Transvideo 10ish years after the first Cantar was released? But that's just me guessing. Worth contacting Aaton (or a good dealer)....

  7. Here's the Summary Of Investigation report from New Mexico OHSB. Eleven pages (but big type) detailing the producers' "plain indifference to the recognized hazards associated with the use of firearms on set." Some sad details of what led to the avoidable tragedy. 



    And the local paper says, "It’s unclear what impact the environment department’s findings could have on the multiple lawsuits filed against Baldwin, or the ongoing criminal investigation into the incident.... Santa Fe County Sheriff Adan Mendoza said the department is working on a news release for Monday to update the investigation." 


    Rust Movie Productions Fined

    New Mexico Environment Department concludes production company knew safety procedures were not being followed before fatal shooting



    Baldwin's lawyer says the report exonerates Baldwin, but he's paid to say stuff like that.






  8. I was talking with a friend about how hard it might be to restore a Wurlitzer electric piano, as one does, and that led to a chain of thoughts that led to a Google search that brought up this blast from the past. From Re/p, Sept 1970 (on that site Al McGuire discovered). https://worldradiohistory.com/Archive-All-Audio/Archive-Recording-Engineer/70s/Recording-1970-09.pdf


    Because of this mic and the tape recorder mod, Brad Miller sent Carl each Original Master Recording LP as they were released. I just dig that sort of thing...






  9. 8 minutes ago, berniebeaudry said:


    I have a copy of Producing Great Sound for Digital Video, second edition.  It comes with a CD.  The CD has tutorial tracks, diagnostics, and demonstrations.  Would this be an updated version of what you have?  


    Bernie, you have an older edition, and pretty much a different/narrower book, than the one ycainjo has. Ycainjo's book pretty much updates and expands on the one you have and the one osa has. 


    So I've been in touch with the Routledge editors, and they're looking into all this. Basically---how can they make the files and perhaps website available again. Cool that they're responsive. Still waiting on a followup.

  10. The files most likely still belong to either the book's publisher or to Jay's heirs. (I was Jay's editor at Digital Video magazine and helped him shape his first book. We became friends). I just sent a note to who I think is the correct and current contact at the publisher, Routledge. I asked if they can make the files available or are OK with them being shared and/or posted elsewhere (such as somewhere on this site).


    Here's the Routledge page with a link to the defunct website.



    Also, following Rick's suggestion, here's one Wayback Machine snapshot of Jay's greatsound.info site. I didn't try to download the files, but looks like they may be there:



  11. It's interesting that many of the new 32-bit equipment is lower-end prosumer gear. Perhaps for 8-series, Nova, and similar professional recorders there's something in the 32-bit chip sets that isn't quite up to what the engineers want. Like some minor A/D S/N thing, or some limiting factor on designing lovely pre-amps. So many the manufacturers are waiting for the next-gen chips...


    I guess 32-bit stuff is fine, but I'm still rolling OK with 24-bit recorders. But then, I don't do sfx or sound design. And I could see buying a MixPre-class recorder.


    Warning: I know nothing.

  12. I'm guessing the issue may be similar to the stories of people frying the HDMI ports on their prosumer/BMD/Canon cameras when running a small external external monitor off an unshielded D-Tap connection on the battery running the camera. Basically, if you first cable your accessory (monitor and now apparently RX ) to the camera, and then plug in an unshielded power cable, then if the positive pin connects first, the audio/monitor cable completes the circuit and you can fry your HDMI or SDI ports (and I guess more for Venice). So the general approach is use shielded cables/connectors, connect power first, and then connect the monitor or RX (or whatever).


    Dig it: A few months ago Arri put out a short advisory on this.

    Preventing Damage to SDI Outputs


    Please correct any mistakes, and I don't know if this is the issue affecting Venice cameras, but it may at least point towards a solution.

  13. 6 hours ago, tourtelot said:

    I like the little Neumann KH80s for my small studio.  I find that they translate well to my home hi-fi playback rig.


    Interesting. Those have four-inch/100mm and one-inch/25mm drivers. Tiny. You using them to mix dialog, music, both, more?



    Also: $1000USD/pair.




  14. There's some interesting discussion of the Rack-N-Bag in this thread. And Ken Martini, the guy behind the system, participates.


    But ya, if anyone has more recent experiences, would be interesting to hear them.



  15. I want to be ahead of the rush...


    From a local news site:



    ‘Granny chic’: Are San Francisco Victorian speaking tubes making a comeback?



    “Why are we able to hear a great distance through a speaking tube?” the snippet reads before explaining the science: “When we speak into a tube, the sound waves cannot scatter, but must travel within the tube, and so we can hear at a much greater distance.”


    Relics of the speaking tube can still be found in old houses, including some of the many Victorians around San Francisco. In some cases, the tube has been removed, leaving a curious small hole in the wall where it once protruded. 

    [rest of the article at link above]






  16. 6 hours ago, Anuroop Kukreja said:

    Hey Allen, any softie cover size for HD-26..


    The PSC/Garfield Headphone Softies came in two sizes. Perhaps they still do. I use the "regular" softies on all my 7506 cans. I think the smaller size was designed for Sennheiser HD25 and HD26. A good location-audio dealer should still be able to get them.

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