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edward chick

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Everything posted by edward chick

  1. Buy used until you get your experience level and client base up. My first mixer was a used Cooper CS104, and an ME66 shotgun/boom combo bought new, along with some G2 wireless. For headphones Sony MD7506 are very affordable. As your auditory palate grows you may want to check out Ultra Sone for headphones. I currently rock the Pro 750 model and will never part with them.
  2. When the weather is nasty the 416 delivers. Can't say the same for my CMIT 5u, I got caught in a downpour this summer, ten minute walk to car in driving rain turned into 190.00 trip to Germany for the 5U. Funny thing is they could not find anything wrong with it! I think it just wanted to see the homeland for awhile:)
  3. I've been using an PSC elite large for a few years and love it. Collars work with no problems. Sections slide smoothly.
  4. It takes a little maneuvering to access the media door, but I don't mind. The side door bellows out enough that I don't think the power plug will get abused.
  5. Using the 34 with my 664 and 2 Sr5s. Took a little maneuvering to get the 664 in, but I love the lift system. Still have plenty of room to add extra wireless as needed. Would like to see more external pouches, maybe even a double pouch like Petrol. Love the access zip doors for both sides. Aluminum frame is very sturdy, bag stands up all on it's own. All in all good design!
  6. Hi. I carry 2 411s and an Sr5 in the bag. Plus transmitters for them, comtek transmitter, box for lava, spare batteries, tape for mounting mics, timecode cables, etc. I also like to have extra room in case I need extra wireless for jobs. The 32 was a tight squeeze for the 664 to fit in and there was just not enough real estate for receivers and transmitters. Don't get me wrong the bag is beautiful! I prefer a smaller bag so it prevents me from carrying too much stuff, but the 32 is just a little too small for my needs. Maybe I carry more than I should, but I hate making trips back to the car and I don't always have my follow luggage close by in run and gun situations. I think the 34 should be the ticket!
  7. I ordered an Orca 32 for my 664. It's a little too small for my needs so I am in the process of exchanging it for the 34 model. Very well thought out and designed bag! Keep up the good work!
  8. I work quite regularly with a company that has 2 Red Epics. They have the Wooden Camera XLR to mini adapters. I send mic level and it works fine. I also roll backup .WAV. As far as I know there have never been any problems. They like to use the camera audio for rough cuts to send to client and the .WAV from my 664 for the final edit.
  9. Rob, just curious as to the particular situation you were experiencing problems with the F55. I worked with one yesterday and it took a jam from my 664 at 23.976 no problem. I was hard wired to it for timecode and audio. It was a full day of sit down interviews no mobile shooting. I have not yet worked with an F55 where I had to attach my sync box.
  10. Thanks for clarifying John. Makes sense.
  11. Hi Herbert. FWIW, I've been on a doc with the RED EPICs and have been using my Ambient Tiny Lockit Sync Box which is just for timecode and we've been shooting long takes like you have mentioned and there have been no problems with sync. Curious as to why they (Ambient) suggested using Genlock? We've been using 23.976 as the frame rate.
  12. I've shot in court rooms several times for Dateline type of shows.. some courts have a press feed or a patch system some do not. I find that the Omni Goose mic from Peter Engh is very useful at the Prosecutor stand and One for the Defendant's . Sometimes the judge and defending attorneys and prosecutor staff will let you mic them or the member that will do the most talking. Always ask, never hurts.
  13. I have been using Ultrasone Pro 750 model for close to a year now. I like the way they sound, they seem to have a more natural sound to my ears. I agree with Johnny that the cables appear to be of cheap build quality.
  14. I am usually 15-30 min early before call for all of the aforementioned reasons. I feel like I'm ten steps behind during the shoot if I'm not. Ed
  15. I meant SRB5p. Sorry for the dyslexic model number Senator.
  16. My go to rig for sending scratch tracks to DSLRs is SR5b with the battsled 9 volt option. With two Lithium 9 volts powering it I can get close to two full days of shooting before changing. Turning it off when not shooting helps to conserve batts as well. I use the either the Lectro Sr mount for the hot shoe or the Rycote.. I have both. Lectro mount seems to secure the SR5 better; the Rycotes' velcro straps tend to loosen through out the day. FWIW
  17. TRAM TR50 is a good sounding mic that can hold up to field abuse/use.
  18. I just did the upgrade a few hours ago. No problems copying to a formatted SD card. I don't think you are supposed to unzip the the file per Sound Devices instructions. You are just supposed to copy the .prg file to root level of your formatted card.
  19. I just used my Schoeps CMC6/MK41 during the hottest week of the year we've had so far here in Michigan. 6 days straight of 94-95 degree temps with heat index of 105 degrees, everyday exterior locations from sun up to sun down. Unit never failed just continued to deliver that natural, Schoeps sound I love to hear.
  20. I use the Remote Audio cans. Yes, they are hot and heavy, but they are very affordable and work. It continues to amaze me how some sound professionals like FOH engineers do not protect their hearing. I worked the Orion Fest earlier this month. Metallica was the headliner/behind the entire event. I had to interact with their FOH engineer for a feed. He does not use hearing protection. I understand they need to hear all the subtle nuances, but man, how can you effectively tell at those excruciating db levels?Several times I think my heart literally skipped a beat due to the bass levels when we were shooting in front of the stage. I had foam earplugs under my high noise cans, and I probably still damaged my hearing. Protect those eardrums at all costs!
  21. Just finished working with c300 this weekend. Jammed it from my 664 and let the operator go to work. Held sync all day, everyday. I jammed after batt changes or long power downs, but it was still holding. Maybe company rented a good one?
  22. I saw a mixer do that on a reality style shoot for a major automotive manufacturer. He was with a second crew,using his head to balance his pole on a shot of some engineers that were heavy into a discussion and he would dip down with his head to whichever engineer was speaking. It worked great until he conked one on the head. Needless to say he was never asked back for the rest of the year long shoot...
  23. On a certain home buyers reality show, post sent down word that they wanted ref tone on camera set to -12db. Too many different mixers were giving them too many options. I appreciated their attention to the detail. Unless your Cam Op is also doing the post, tell him you won't light / compose the shot if he stays the ***out of your department:)
  24. For HDX 900 I always like to let peaks ride around -10.
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