edward chick

Why not?

I own both a 664 and 633. The 664 since it first came out. I have never had any issues with either machine “freezing up”. Pre amps are great on both machines.

Hi Alen. I have not worked with the new Vari-Cam, but if it’s like the previous models and the HPX series, the time bass is probably a constant 59.94. When the cameraman sets it to 23.98 the Vari-Cam uses a pull down method to achieve the 24 frame look. I have always set my 664 or 633 to 29.97 nd, same for the sync box, the camera takes a cross jam from the sync box and everything itimecode wise is proper. Drop frame will not work if camera is at 23.98. Someone more familiar with the math part of the equation can better explain what is going on. There have been several posts on this site regarding this very topic.

Jay, think of it as teaching an entire generation that thinks picture is the only element that matters in today’s production environments. Your knowledge is screaming to pay it forward.

Lately due to the decreasing amount of real estate on cameras, I’ve been using Lectro LR on cam for scratch. I also use them in my bag when I need extra wireless. They are usually good for the day off Lithium AAs and the range is pretty good especially if I use the 100 mw option on the LT transmitter.

I recently did this for a doc for a certain sports network with the Detroit Fire Deparment. Production was hoping to go on an actual fire run with the fire fighters. Since this was a doc situation, we had to be ready to go when the bells rang. I did not have a lot of time to consider where to mic them, so I put the transmitter in the interior pockets of their fire oats, ran the cable up zipper line (taping it down) and using a vamp clip, attached the lav (Sanken COS 11 or Tram 50) covered with moleskin and let it set. Unfortunately for us, our particular engine house did not get any fire runs that night, so I could not put the rig to the ultimate test. However, we staged the FF gearing up and getting in the truck, and the rigs held and sounded pretty decent for being underneath the coat. Obviously for a staged production you have more time and ability to consider other options such as a helmet rig.

Had something similar happened to my 664 a few years ago. Sent it in to SD, and it turned out to be the locking nut for the mini hirose power input.

Like A Few More Years I have both Comteks and Lectro R1as. I find the Lectro have a little better fidelity and range, but when the peanut gallery starts to play “yo-yo” with them, leave them lying everywhere but where they said they did, I invested in more Comtek units. I have the PR216 series and use the M216 transmitter and am amazed at the range I get with them at times. Plus, they are on the VHF band so it’s one less freq to worry about interferring with my ever shrinking UHF bandwidth options. Most Director’s or Producers I work with understand that what they hear quality wise via Comtek is not the same I am getting at the bag. I can go for days with IPower 520s in the Comteks. I do like the fact that you can send timecode with the Zaxcom though.

Being that my main market area is Detroit and we are close to Canada I get a couple of calls a year to work there for U.S. clients in the Windsor and London, Ontario areas. Shortly after 9/11 I had a Producer that was cheap and did not want to buy the proper work permit for me. He expected me to lie at the border and say I was going golfing or fishing. I opted to tell the truth and was promptly motioned to pull into the Customs Office. After about an hour of “what was my purpose?” “You need a permit and it takes two weeks to get one”, I had to sign a form stating that I violated the Canadian Immigration Act of 1978, and shown to the border. Ever since then when ever I go there for play or work my name comes up and after some brief questioning by the booth guard, I am allowed entry. I was on a job two years ago for the NHL in Calgary, upon arrival at the airport I was told to go to Immigration, when they found out I was there for the league they stamped my passport and allowed me to enter and work. Guard stated “ Carnets and this other shit is for YOUR government, we don’t care.” Fast forward to last winter and I was crossing the border in Sarnia, Ontario for an HBO Real Sports shoot In Toronto, the border guard pretty much voiced the same thing. “ I don’t give a shit about your equipment, I am more concerned with who will be seeing the show, HBO U.S. or Canada. If Canada I can not let you enter to work.” It’s pretty much a crap shoot. I’ve been with cameramen who have the full blown Carnet and they still get hassled. I use a Customs for 4457 with serial numbers and gear. I take the gear to local CBP office, officer looks it over and signs and stamps the form, good for a year. My in depth .02 and experience.

I plan on reblocking. Comes out cheaper for me.

Earlier in my career, I recorded an interview with a foreman on an oil drilling rig with a 416. It sounded fine. It was a closeup mind you and I had the 416 right on edge of frame, l but I could hear everything the subject said above the din of the drilling machinery. I’ve been a faithful advocate of that mic since.

Just mic 'em and be done.

I had a strange Red Weapon incident today. Providing hops to two Weapons, both cameras at least three times crashed while recording the first take, with a message that said "audio buffering". One of the DPs owned one of the cameras and was perplexed. Of course the ACs immediately wanted to rip off the receivers.. come to find out, both DPs had never completed a full reformat? I did not know there is a partial re format? Once they did that the problem went away. I have worked with the RED Weapon several times and this was the first time I have experienced this issue.

I bought a pole from Loon last year. I contacted Don via the website. He emailed me back with the total. Told me when I received the pole to mail the check. I loved his old school style of business. The pole is my favorite, very well made. Thanks for sharing the back story on him!

Several years ago when I was running G2s for hops I had a custom cable made from Remote Audio for line level. I never had any issues once I had my gain structure dialed in.

Hi Mike. I've used my Tram power supplies for my CoS 11's as well with no issues.

I like my LTs. I agree with BAB414 that they are a little clunky body wise. I will probably be getting more once I see how the FCC Spectrum madness shakes out here in Detroit area. As for 100mw vs the 250mw on the smqvs.. I do work sports jobs where the higher output option comes in handy, especially in an RF heavy environment like a football or hockey game. Range seems to be good on the LT. The LR series receiver is definitely much lighter than 411.

Klaus, are the Tiny Nanos compatible with the ACN enabled Tiny Lockits and ACL204 Lockit?

Your transmitter and receiver outputs should be giving you plenty of signal strength at line level.. I have mine almost set up the same way.. Smqvs at 20 from 633 line level with line level cables, to srb at +5 out into fs series or whatever camera at line level in. You mentioned that you hear the noise when you tap your 5pin cable from your sr, do you have another to swap out? Could be the cable.

I did experience a walkie interferring with my SRC in A block. The walkie was in the 470 mhz range and at my cart. I accidentally keyed it and it killed the SRC. My mistake totally. Lesson learned. I find that SRc overall is a good receiver and I also like the LMbs and LT transmitters as well. I plan on adding B block soon.

I don't use Powerex batts. I have never had a problem with either the AA or AAA Storacell holders. I use Energizer Lithium AA and AAA as well as the new I Power AA batts. Some 9volt rechargeables do not like to fit in the 9volt version however. I find if the retaining nubs do break, that the battery falls out of the holder. I too, reverse the batteries in the holder so I know which battery is dead.

http://www.storacell.net/ I've been using these for years with good results.

2013 Chevy Traverse . Insane amount of room, and all wheel drive which is pretty much mandatory for Michigan winters.

I have my srb set to +5 output to camera line level in. I come out of my mixer at 0db and have the smqvs set to 12 with the -10 light just barely lighting up. It gives me a nice strong signal and sounds good. I'm also feeding the transmitters with a line level cable.

SD service department are straight up people and return very fast.