Reinout Weebers

I see you're referring to non-rechargable Lithium's, right? I use lots of rechargeable batteries, mainly Eneloop pro's. But until now I haven't tried (rechargeable) Lithium AA's or AAA's. Does anyone have experience with rechargeable Li-io or Li-Po's? I do use the 9V iPower Li-Po's and the're great imo. Brands like iPower: http://www.ipowerus.com/products/aa-1-5v-2600-mwh-lipolymer-rechargeable-battery/ or KentLi AA on ebay... regards, Reinout.

One thing I don't like about the tentacle is it's build-in battery. I always like to be able to switch batteries... AA's or AAA's are available around the globe, so if the Sh%$T hits the fan, just buy a pack around the corner.. I still use my Tri-Level red Ambient lockit. But I rarely used the tri level part... For me the next buy will be the Betso's.

I use a custom LiFe battery 33Ah @ 12Volts. Fully charged I can power my Cantar X3 + Cantarem, Rack6, Sharkfins and cart light's for a day... easy. I had it made by deherrieboerderij in Amsterdam. I can imagine If you're a handy man you can build it yourself. One LiFe battery (choose a capacity that fits your needs) a peli case a charger, some connectors and fuses.. Done! Or you can ask your local tech guys ;-)

Beside's the loads of tape I use to hide them, I love the original (clear) concealers from DPA. I heard HideAmic, which I like to use for the Sanken COS will become available for the DPA's as well. I love them especially in ties.

Hi Guys, I'm looking for an EN2 DX2 receiver from Audio LTD in the freq. range of 614MHz to 654MHz. If anyone has a receiver they want to sell, let me know. I understood that Audio doesn't make them anymore but I use the EN2 series for IFB and need a small upgrade for a future project. Any help is appreciated. I'm sorry if this question should be in another section of the forum. kind regards, Reinout

Like many I use the on board meta data in my Catar x3 or SD 633. The tracknames I use are for instance CMIT, Tx Harry, Tx Mary, MixL, MixR..... Telling what mike you used makes it easier to match dubbing mics. If there are any problems you can easily check which mic you used. In the Cantar I have permanent notes where I put in the scene synopsis. The take notes I use to note particularities like what part of a take wasn't good and why. Also in case of wild/setnoise/atmo what it's about. T, G, N, W Aren't available in every machine but even on paper it gives a quick overview. Lately in a project we encountered a problem with the dailies forms. The editor therefore used my reports. So keep your notes tight, they will come in handy.

+1 for the subject, I was always intrigued by set politics, and how to position myself physically... and mentally on set. Fun fact is that in the Netherlands most heads of the sound department do not sit behind the cart and mix. Simply because there is no money for good boom-op's. So besides the hand full of decent boom op's, most of us will be head of department and boom-op at the same time. So I like to place my cart and assistant as close as possible. Good communication with each other is key in this case. The mix is not as perfect as a seasoned sound mixer will deliver, but good enough for me and the director to monitor. I prioritize the ISO's and push as hard as I can for a perfect mix with every assistant. As you said Jan, great list btw, I also don't like all my communication to be heard while rehearsing or setup. Therefore I used a gooseneck mic on the cart for a long time, so whispering would be enough. No anxious looks our way... Wire talent in a quiet spot +1. I prefer to wire at wardrobe or a greenroom. Although many "say" they don't mind a noisy public spot, in the end they appreciate the effort and focus. I can't agree more on this point. Further away, and thus less visual distractions? I get that, but if something moves without being absolutely necessary it should be killed..... the movement I mean. No for real. Because I'm on set I can't see everything happening around video village. Therefore I'm really strict towards unnecessary movement/sounds. I know we all are, but it can't be said enough, now and on set. In some cases I like to exaggerate a bit in the beginning of a production, so everyone knows I mean business. When PA's see me going OFF set they know something's up and pay attention This physical communication helps allot indeed. During a take I like to have eyecontact with a 1st AD or Director. I'll never make myself invisible (although I would like to have the ability) Frequently I nod my head if something doesn't ruin a take or shake my head when something does. This can results in a running pickup or cut. As you might understand in my case visibility helps. For cart position, I like it to work for as many shot's as possible, including weather protection, ac power, home.... Radio reception is always difficult. Until now I seem to manage, but many of my colleagues use a battery fed rack on a snake to get the receivers closer to the set for those extra dB's. I presume this was meant in the case of a long snake earlier in the thread. Nice subject and interesting opinions! Thanks

Hi Guys, In fact the bag is finished for me. I tried to upload the pictures in order of progress, but unfortunately it got mixed up a bit. I like the the raw leather and colour and hope it will age fast. Also my Cantar overheated a while ago because of direct sunlight. So therefore a lighter colour as well. The carbon plate mentioned didn't convince me. When you screw a plate on the Cantar body it covers the mic inputs. When you don't need to plug in/out that often... when shooting a documentary or something it's fine, but in my case I want them to be accessible. Also the machine itself isn't covered and when put on the floor will be unprotected. I don't like that one bit. As you can see in the pic's, my front bag can move up and down a bit. This is because of the hight of the RX's. This leads of course to a bit more wear. The alu frame could be made from carbon.. But this needs some serious designing. My welder copied this one from my cardboard design ;-) And alu is light, strong and cheap. For the shoulder strap: I took an old sony cam-strap and cut off the Cam-C clips, them put them on my Camrade harness. Works really nice. My intention is not to take this in production. I hope sharing this will lead to new ideas and maybe someone will start to produce a bag in the near future. I couldn't wait any longer for a bag to buy... and IMHO still think it wasn't smart to release a machine like this without a bag.... Cheers!

Don't use to much force!!!!! To be serious I don't have any problem with accidental knob or fader movement.

Because no bag is on the market for the Cantar X3 yet.... I designed my own. With a "little" help from professionals as 'De Herrieboerderij' aka Kees Schouten in Amsterdam witch helped me with the aluminium frame, and a my new friend Andrea Monti from The Guild of Holland, he made the leather parts. Because the AudioLTD rack3 with Rx2040's, like almost all receivers, is to high I made a little frame to hang a front bag from. This front bag, when sitting on the ground, blocks some faders/knobs/buttons. But when I carry the bag it drops 4 cm, and everything is accessible again. The two leather straps can be released quickly and all mic and line in's become accessible. Here are some pics to enjoy. BTW I ordered some extra plastic bridges and 3/8 thumb screws (all small batch made). These are now with the guys from Noyzboyz Amsterdam.

This is actually my Cantar (#0005) in an X2 bag from Kortwich. Noyzboyz ordered this special make witch is an extra 1cm in width. As you can see (almost clearly) in the picture the track solo buttons are kind of blocked by the bag, also rotaries 6,7 and 8 are not free from the bag. Also because of the new Cam-C clips to attach you harness, the holes in the back of the bag aren't in the exact right spot. My main concern was how to bring my receivers in this bag configuration. Because of the long faders my Rack3 with 2040 receivers would block the solo's, a part of the faders and some rotaries. Therefore I decided to make my own bag, when finished I will put up some pictures.

I agree. We all know how hard the job is. Video's like this don't show the camera framing, decoupage and on set discussions. Equipment wise I only worry about the guys back. Any boom, if not handled wisely, can do some serious damage. I like his balanced footwork. Fencer, boxer, boom op or dancer? Keep it up! Hearing is easy, listening is a craft.

I use my Piano 2S with a CMIT and CCM41, MS pair. I only have the short fur wind jammer, but most of the time the neoprene cover is enough. And the clarity of the system is fantastic. It really does right to the mic's. With my old rycote system I was used to getting wind in the figure 8 mic faster then the CMIT. I figure because of the proximiy of the 8 capsule to the basket. With the Piano the figure 8, until now, never caught wind..... knock on wood... Hard wind sometimes is just audible, but only by swooshing past the system/boom, not by hitting the membrane. This swooshing past the system, does anyone notice a difference between the short and the long fur jammers?

I was under the impression that the SuperCMIT was a mod 2 mic, so that cleared up some things for me. Schoeps website: The SuperCMIT 2 U is a digital microphone. Its output signal format is AES42, Mode 1. This means that it runs on its own clock (48 kHz) and must be driven by an AES42 input with a sample rate converter (SRC). I once read an article from John Willett (are you on here?) that explained the digital mic. Read it again. Was helpfull ;-) http://www.taperssection.com/reference/pdf/AES%20-%20Digital%20Microphones%20-%20AES42%20and%20all%20that.pdf Reinout

So in mod 2 the mic is able to (word clock) slave to the recorder/amp. And because I'm using the DA42 (mod 1 amp) for now, the mic is in free run and has to be re sampled by the SRC on the DA42 or my 788T. Sounds logically, thanks! Hearing is easy, listening is a craft.