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Geoff Tirrell

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About Geoff Tirrell

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  • Location
    Dallas, TX
  • About
    Freelance Sound Mixer based out of DFW texas.

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  1. Ok so I took the plunge on a MCR 42 slot setup for my camera a couple of months back and have been unable to deploy it for 2 reasons both of which I hope can be chalked up to operator error. 1st, I cannot figure out how to manually enter a frequency and the manual is no help. No not the group and frequency within the confines of what is offered in the coordinated groups that works fine. I am talking about the scenario where I am given a pre-coordinated frequency to punch in say for example 542.200, Think hop or coordinated stadium situation. I find it hard to believe that any professional wireless would not allow for this type of function. 2nd, May be related to the camera I am running it in PMW-400 but I am not convinced something else is not happening in terms of setup error on the reciver side. From what can tell if I run both channels of wireless at the same time it is choosing to output one of those channels to the camera. I am pretty sure this camera was designed to accept a duel channel slot receiver but in typical fashion Sony is not entirely forthcoming in their manual. Also it seems to work fine If I am only running one channel but when I fire up the second i get meters like I have two but only one is passing through on both tracks. I am currently on the 3.7 firmware If I remember correctly though the later version does not to my knowledge change anything I have mentioned.
  2. It may work if you keep the distance really short. I just glanced at it but the stated range of 150 ft seems like it would disappear really quickly in a lot of situations, especially if there is anything in the way. That said for 80 bucks let us know how it goes.
  3. I will second the part about staying with the freelancer, a good mixer should be a master craftsman in his own right. Just like how I could sweat copper or tinker in the circuit box of my house I hire a master plumber or electrician who has the equipment and experience to get it right the first time, otherwise things can be more costly in the long term. Now if the decision is already made and somebody is convinced this is the thing to do, than I would to start with add these things to your buy list. Time code cables from everything on the market to whatever your mixer/recorder uses. XLR to ta3 cables so you can use the direct inputs assuming you go with the 633.... buy at least 5 so that you have spares. possibaly a 3rd battery- you need to figure out exactly how long you can keep everything powered and recording on one and extrapolate that with a good margin for error. Always own a break away cable even if you have hops (there are situations where being hard wired is always better) High noise head sets for monitoring your audio xlr cabeling at least a couple of hundred feet in various lengths... it adds up quick 3 hard wire lavs or adapter units to power your wireless lav miss in the event you can not run wireless due to a location specific issue..etc. Adapters. a lot of them from everything to everything (XLR to RCA/mini/phono etc. Male to Male/ Female to Female) buy more than one of each these are for timing into other systems not a frequent thing but something you will always want to be able to do. Line to mic transformers, at least 2 of the switchable ones or multiple pares in the non switchable variety. Y cables, (not something I like to use but they can solve a last minute problem fast) That is just the basic list off the top of my head and I am not even touching on the issue of backups and multiple wireless blocks. I am also sure I am missing stuff, like I said earlier there are reasons to go out of house to hire a dedicated op.
  4. I saw one of the prototypes a couple of weeks ago and loved it. If you can hold out for the production model you should be pleasantly surprised.
  5. I would add walls to the list not your normal wooden stud residential walls.. as while they will reduce your signal some they will not cancel it. I am talking about the steel stud jobs they use in hospitals and business.
  6. It probably has a hi and low output for night and day just like conventional GPS units. Truthfully I think the basic tec here has been around for some time a quick wikipedia search says that as far back as 88 some car companies were playing around with it in production models. Though if you look at the dates the HUD option is becoming more common. I honestly think I might get one of these units myself as it would allow me to retrofit my ford explorer... I will have to test it first of course.
  7. I tend to prefer a flow through cable for this reason I find that a straight flow through cable has less tendency to rattle than a coil at least in my experience. Additionally the weight of extra cable while it is something you have to hold no matter what will be located at the back of or outside the pole so from a weight distribution standpoint it is better than if a chunk of coil gets pulled up toward the microphone end. Also In this configuration the solution is simple should I develop a fault in the cable I just cut the end off and pull it out of the pole and switch to an external cable. That said my solution is pretty similar to what happens to an internally cabled boom on a shoot. i.e. you wrap a cable around the outside and change the internal cable later.
  8. I would look to the charger and possibaly the battery batch if they are close in serial number it could be that idx got a batch of bad cells.
  9. maybe find a couple of fold away solar panels to use as a sunshade over the cart.
  10. 2 questions to elior. How do those stack on say a rockn roller type cart with a top shelf? And do those drawers lock or freely slide in and out. This might be a good modular solution for people like me that do a wide variety of jobs.
  11. I had actually thought about doing something along these lines a while ago. Glad somebody else thought to do it and gave it a try.
  12. I think it cuts both ways I have seen some cities where film permits were considered a revenue stream and local police would try to shake down news crews for filming permits, and some where it was more about safety, traffic, and disruption to local residents/businesses. The same goes for location fees, I do believe that there is something to them especially where large productions are involved but I also have seen businesses just use them as an excuse to shake down a small production grabbing a couple of shots. Ps... How are they counting those 150 days a year are they full productions with medium to large crews and everything that goes along with that or are they including single cameras shooting B-roll off sticks in that. Also I am always dubious with these when they start quoting tenant disruption etc as to weather the tenants/ shop owners are actually getting the money or if it just goes into the pockets of either the security staff or building owner.
  13. will they replace or repair for all of their batteries, or just the pro-cells? My understanding had been that that was part of what you paid for when you went with the pro-cell line. I don't know how auto correct decided to change batteries to badgers but it did
  14. You might try pro cell D batteries I actually got some from a family member that didn't use them any more.. didn't even know they made pro cells in that size.
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