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edward chick

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Everything posted by edward chick

  1. If frame rates on both the 664 and the TC 3 are the same, the crystal for the Timecode generator on the slate may need to be aligned. Denecke recommends an annual check up on the crystal if the slate gets a lot of use or takes a good fall or drop. Turn around is quick from their service dept.
  2. Buck it up, send it in. SD goes over EVERYTHING.. as T. Norris said it will come back as like new. I’ve sent both my 664 and 633 in over the years and they have always done a great job. I don’t know if they have a UK service shop or not. If you can spare it for a few weeks, it’s worth shipping in to SD US.
  3. I’m guessing the contact springs are shot. Like OSA suggested a small bit of gaff tape or even a cardboard wedge between the batt door and the battery would help secure the batt against the contacts. Other than that… it’s old and like anything else that is well used regardless of how well it’s been treated, it may need some maintenance. If Lectrosonics no longer services it, try Jaycee communications in NYC.
  4. What codyman stated would be my guess. Check your frame rates @ camera and mixer/recorder. Cables would be next to check in the chain of sync . I’ve had cables go bad during the afternoon, even though they worked fine in the morning and on several jobs before the job they crapped out on.
  5. Hi. Posting for a Producer friend/ client of mine. He is need of a sound mixer in Phoenix, Az. PM me and I will give you his contact info. Legit agency out of Detroit (Campbell Ewald) , they pay good rates and treat crew very good. Thanks, Ed
  6. I agree with Doc Sound Guy, sounds like a camera gear defect versus a sound gear issue. I don’t have or use D Taps to power my receivers. If a camera just offers Dtap option I use the battery sled on my SR series. I do use Hirose if offered and have never had an issue Sony f55, Arri Amira and the like . For sports docs having the receiver powered by camera is practically a must have. Flagging down the cameraman to change out batts during a game or hoping they last until half time is not a good option, even though they usually do.
  7. Have you checked the compatibility modes of both the transmitter and receiver?
  8. I carry my Remote Audio Hi -Qs 98 Wh in a back pack . I have them in magazine pouches designed for m4 assault rifles, they fit perfectly and keep the metal ends from getting in contact with anything while offering protection. They get some looks by TSA , but once x rayed no problems.
  9. Plus 10 to keeping your self in shape. After many years of trial and error I find that rucking and kettlebell exercises like Turkish get ups and good old fashioned body weight exercises have helped my back and core tremendously. Unhitch from the harness as often as permissible. It’s YOUR back!
  10. As the saying goes “you get what you pay for. “ I bought a Fold Up Cart from Rastorder over ten years ago.. one of the best gear investments I made.
  11. Like most posts have mentioned I'm still rocking Ipower Lithium Ion 9v purple series that are dated for in service since 2011 in my Comteks and R1a Lectrosonics and they still deliver. I am pretty much AA in the power department now for transmitters for my wireless mics. The Ipowers will run for days in the Comteks. Pretty cool.
  12. I do a quite a bit of network news multi cam interviews with takes that go for an hour or two and have always used tc boxes and a smart slate. I have never used Genlock and have never had any calls from post regarding drifting. Cameras vary from Panasonic Vaticam LT to Eva Cams, to old school style HPX 3700 series and sony fs and A7s with canon c series tossed in. Basically whatever cam the network bureau camera guy is provided and if there is a freelance cameraman on the job, he brings what he has. This has been my experience for quite a few years. Concerts are an entirely different beast, and I could see why Gen Lock would be necessary due to hours long takes.
  13. Contact Denecke .. good people, will get you back in service.
  14. Hi Jwill. Sounds like an impedance issue with camera. Just curious, are you using line level cables from your mixer to the DCHT? Also, what is your ref tone out? I use +5 out from my lectro receivers all the time @+8 db out from my 664/633. Depending on camera I sometimes have to dumb my tone level to 0 db, but most of the time I run it as described. Line level to my smqv series links is usually around 10 or 11 (no pun) where the -10 light just starts to blink. Seems to deliver a good, fat signal to noise ratio for me . Have you checked the cameras menus to maker sure that the internal limiters are off?
  15. Hi tonvogt. Not sure if this helps but when I work live shots I use a cellphone for IFB conntction to the control room/programming. I route the cellphone into my mixer then send the feed to the correspondent’s IFB via an aux out. I take it out of the main mix so it does not go over the air. The cellphone input is on it’s own track and can be recorded. I never need to do that for live tv, but it’s an option.
  16. I’ve had Cos 11s go bad at the Ta5 connector before, just sent them in to be rewired. I’ve used DPA 4060 on NHL players during games and never had one go down. COS 11s are a good workhorse some of mine are at least 10 years old. Lot’s of doc, sports, and commercial use. Pro and non pro talent.
  17. Send to Comtek. Service is quick.
  18. Actually I know sound mixers who work live tv for news networks and use Noise Assist and love it. They consider it a game changer. The A1 in Master Control likes it as well as the Director. I don’t have an 888 yet, but plan on getting one soon. I can’t wait to try NA out. I think what others have stated before me, use it on your LR out, but not the isos, and for film style shoots a conversation ahead of time with Post would be in order as to use or not.
  19. I’ve got a CS3e, it’s my go to mic for sports environments I can always count on it to pull out great sound during on the fly interviews post game when players are on the move back to the locker room , inside the locker room when they are being bombarded by reporters, music from boom boxes, etc. It also sounds good in factory and other noisy background locations.
  20. ? I think you are over reacting a touch .. mounting a mic on a horse will not harm it or the sulky driver. Having been to quite a few harness races myself ,until the sport fell to casinos here in Michigan, they are more prone to injury while they trot or some new equine virus. It’s just nature of the event. As for being nervous around an auto, they are trailered to every event. Also, at least in the states, the starting gates are mounted to an SUV which the racers que behind and go 1 lap around the track so everyone is even in the starting line, so I wouldn’t worry too much about how the horse reacts to a vehicle. Let us know what you come up with.
  21. Being that it’s a narrative film, can production budget a few hours so you could experiment with different mic placement? T If you have a horse/jockey at your disposal you could mount various mics, and not worry about if camera will see it. You could wire a Lectro PDR or equivalent small recorder and wire the bridle, trying different types of foam on the mic as well as shotgun with a zeppelin on frame of sulky.
  22. I agree with Derek. In the heat of confusion it can be stressful to “click” through the channels to find a clean frequency. But the advantages of vhf in a crowded spectrum, and a housing and electronics that can take a beating throughout the day, along with the price point per unit; offsets the minor inconvenience it takes to grab a clean freq and get on with the day. Just my .02.
  23. I noticed that too. Sounded to me like it was ADR on a sound stage. Good film.
  24. I’ve been working for CBS and NBC news divisions recently. Protocol for both are crew has to wear masks, all shoots outdoors unless cleared by Operations Mgt. Booms preferred but if lav necessary must sanitize it and transmitter. I’ve been wiping them down with Lysol wipes and spraying the bag etc, with alcohol. It might not be the manufacturer preferred way, but that’s what I’m doing.
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