Steve Foy

I looked into this recently and found: - Sound Devices don't recommend it as they have encountered a few issues and unlike the 788 it wasn't specifically designed for SSD. - There is no real speed advantage or otherwise. - Much more expensive, particularly if you need the SATA adapter. - Standard Drive has proven reliable with no issues, so no real reason to change. Based on all that, I replaced mine with another standard drive which cost $40 and it's been going like a champion.

Nice work Nick.

Here in the Sound Department, we have an old saying for toys like these……. "Treat it like Film" Double System with Timecode Slate = Happy Days. By all means send a scratch track to the camera, but at the end of the day if you go with this time tested technique you will have: - Highest possible audio quality - Multitrack capability - No Timecode issues - No Sync issues Anything else is a compromise and in many cases false economy !!!

+ 1 Absolutely, UM400A and R1a's are rock solid.

Not sure what you mean about 'unbalancing the power box output' Chris, but I have used a Sanken Cub-01 into a UM400a a few times via the Denecke PS1A 48V Box without any problems what so ever.

I think that the solution you are really looking for is the Lectro HM which has a 5V, 18V and 48V Phantom supply built in……. cleanest and lightest way to do it !!!

Yes

If you strive for quality then I would suggest the MM-1 as the perfect solution……. don't forget that the quality of your audio will only ever be as good as the weakest link and therefore It makes absolutely no sense to compromise on one of the cheapest components in that process.

In my experience 411's will outperform SRB's in almost every situation………… obviously there is a real estate penalty though.

"this sounds more like surveillance video, than a production." Exactly right, my point being you get what you pay for !!!

So let me get this straight............ they're dry hiring a Naval Bridge Simulator and filling it full of paying suits but can't afford a Sound Recordist !!!

Don't forget the 744 is more capable in terms of sample rates.

"I wouldn't bother sending a scratch track to the camera - the camera guys didn't want the extra bits hanging off their rigs - and it's really only good enough as a sync track." That's true Chris, except that I have found more often than not, the Producer and / or Director wants to either see a 'Playback' of a take straight from the camera or wants to do a 'Paper Edit' later using the files on a laptop and it is therefore useful to have sync sound on camera. Of course, if that's what they want I let them break it to the Camera Operator !!!

I normally run a wireless audio 'Guide Track' to the DSLR and record 'Double System' utilising a jammed 'Timecode Slate'. That is the best and most reliable option for post production, of course there are other cheaper ways but they are not always reliable. Personally, I think that if Production is going to insist on this level of camera then they need to accept the limitations that come with it.

A quick check of their website shows: 2 x 1/4" Jacks for Professional Balanced Analog Audio (Switchable between Mic and Line Levels). Not sure about AGC, compression etc, but I would strongly suggest running double system sound with a scratch track to camera.

"Products sold in the USA and Australia are identical" Not so, a few years ago output restrictions were placed on any RF emitting device available for sale in Australia........ I'm pretty sure we are limited to 100mW.

There are a number of excellent products on the market these days and the choices are to some degree subjective and relative to the type of work you're doing or wanting to do. Apart from John Barry there is also Lemac but I would definitely go and have a chat to the boys at Soundequip as they have all the best products, great product knowledge and are 100% audio. http://www.soundequip.com.au/contact-us.htm Cheers, Steve

Hi Chris, Never seen that, so I'm pretty sure it's back to the mothership for that one mate.

Yes

"F3".......... It's not as straight forward but does the same thing as H2testw on a Mac. http://www.broes.nl/2012/08/verify-the-integrity-of-a-flash-sd-card-on-a-mac/

Sounds like a rethink may be necessary: http://www.popsci.com.au/science/why-your-music-files-sound-like-crap

Yep, that's exactly why I use PortaBrace. Rycote has exceptional customer service also.

This is a great resource from Rane Professional Audio Products................ http://www.rane.com/note110.html

Not sure about the rest, but I can tell you that the RED Epic/Scarlet uses a Lemo connector for Timecode that is smaller than the usual sized Lemo connector found on an Alexa for example. I would suggest making the Timecode section of the cable terminate in a standard sized and configured Lemo connector and then have an adapter (normal size to small size) for those pesky Epics/Scarlets.

Not true Rick, despite a large number of aircraft in America having ADS-B transponders, the FAA deliberately delay the data. From the Flightradar24 website: In addition to ADS-B data, we also get data from the Federal Aviation Administration (FAA) in the United States. This data is based on radar data and includes all commercial air traffic in US and Canadian air space (i.e. not just planes with ADS-B transponders). Unlike the ADS-B data that is presented real-time, the FAA data is delayed by roughly 5 minutes due to FAA regulations. On the Flightradar24 map, all planes based on FAA data are orange.