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Mike Wally

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Everything posted by Mike Wally

  1. Yea, i was planning on using the ta5 for Camera C. Using inputs 5/6 seems to be the smart move here for monitoring. I'm sure pro-sound can hook me up. thank you for the recommendation!
  2. I don't remember the actual number on the 0.1 scale. The 302 sends Line Out, and by using the XLR to 1/4 Inch it was able to go line-in, or something like that I believe. I know that it is different if you just plug in using regular XLR-XLR. When you're sending tone, though, you can see on the Zoom's screen where the two black "bars" that act as the meters touch on the dB scale. I just bumped the recording level up or down until the meters matched up with the desired -12, or -20db or what ever setting you wanted to record at. Hope that helps, sorry if I'm not making much sense.
  3. Kortwich Zaxcom Nomad Bag w/ Zaxcom Nomad-6. AKA, Velkro is awesome. I love being able to easily swap NP-Batteries, the side pockets are intuitive. Also being able to open up the bag from the zippers on the sides is a huge plus.
  4. What would you use cable wise? The return from a breakaway is typically an 1/8 inch aux cable, do I then convert that to a male XLR? Is that possible to do?
  5. I used XLR female to 1/4 inputs into the Zoom H4N and set the rec level on the zoom at -16db.
  6. Hey guys, Been having an awesome experience with my Nomad so far...but the time has come for me to do a 3-camera ENG shoot. I will be mixing into 3 Cameras (each with 2 XLR inputs) Follow my logic for setting this up and please tell me if you would do anything different or have any insight/experience/advice. I have 4 direct outputs. That's 2 breakaway cables, one to Camera A, and one to Camera B. I can monitor the return on 1/2, and 3/4 with the 5-pin adapter cables I have. For camera 3, I would get the cable that goes 5-pin to XLR "Y" cable. Then use a typical breakaway cable to go to Camera C. I don't see anything on the nomad that would allow me to monitor the return on 5/6. Would it make more sense to use the tape-out for the 3rd camera so that I could monitor it that way? Is there anything special I need to do in the Nomad's settings for like output settings? I will be running a Boom and 2 lavs, possibly a 3rd if needed. I would want each camera to have the Boom track isolated, so I would set: Input 1 (L), And then Input 2, 3, 4 ®...which would make each camera receive the boom on track 1, and lavs mixed onto track 2. Does that make sense?
  7. Little late to this discussion, but I used a SD302 and a Zoom H4N for my first year of freelancing. The 302 is amazing and handled pretty much anything I ever had to do, weather it was ENG (and mixing into a camera) or recoding to the Zoom. The Zoom rocks because it really is the most affordable 2 track recorder. It's extremely easy to use the Zoom, it is really light, but doesn't really fit into a bad in any comprehensive way, so I just pushed it in butt down and sticking up in the outside pouch of the SD302 bag. With that said, it has way too many limitations that force you to find work around. You cannot name the files in any way other than date_001, or STE_001. What I ended up doing on films and shorts was adding a section to the slate that said, "001, 002" ect, so that the slate matched up with the STE_ file that my zoom was recording to help make the editors jobs a bit easier. There is also no real false take option, you can't isolate or assign an iso track when trying to monitor from the source. It also only takes 2 double a batteries, and there's no real way to run an NP battery to it. i made it work though, and happily upgraded to a Nomad-6 when I could. http://a6.sphotos.ak.fbcdn.net/hphotos-ak-ash4/318866_572016253112_43102064_32057850_1177972723_n.jpg kind of a look at my set up, you should be able to see the zoom face down I will saying having an all in one unit/box makes life ALOT easier. I acutally think my Nomad is lighter than the 302/zoom combo...could be placebo though.
  8. I stand corrected. Still, USB 3.0 doesn't help anyone with a Mac, so a firewire would still be the best option. Though, I'm purchasing that for my computer now Thanks!
  9. Honestly, the only way you're going to actually see a difference with capturing cards is by using a Firewire 800 or USB 3.0 card reader, which cost alot more than a regular card reader.
  10. I try and keep it at 12'o clock maybe 1 for monitoring. I set it up so I have HP1 = Master ; 1,2,3,4,5,6 -Card, Mirror, Out all checked (with "X") HP2 = 1_ISO ; 1, Card, Mirror, Out (checked with X) HP3=2_ISO ; 2 Card, Mirror, Out (checked with X) And so on. My goal is to be able to listen to all tracks, isolate the boom, and then isolate each lav. we've both noticed that the boom on a 416 sounds a bit low. I feel like I have the trim always in the 18-20 range and the fader pod opened up to about 75% to get the actors voice into that friendly -12db yellow zone. This is for a basic medium two shot floating comfortably in range of the actor. I will screen shot it on set tomorrow and post it, but does this make sense?
  11. sounds like a good work around . good looks. I think there's nothing wrong with my boom, just my HP monitoring set up. Listening to all my files and they sound good on my computer.
  12. How do you re-mirror? I was trying to do it on the fly, but couldn't figure it out. Thank you, just making sure I was following the right train of thought
  13. Me again. Random thing I'm curious if anyone has experimented with. The Mirror files obviously make a copy of what is recorded first to the primary card. If I go back, and re-name a take, or add a note that the last take was "room tone", but the Nomad has already mirrored the segment (since it does it automatically). I'm assuming that means that the mirror files would then lack the same meta-data as the primary. The work around to this would be to leave mirrored off, until you know there is a break, or a scene change, and that all your meta data is up to date. Just curious
  14. Running 2.81 with no problems so far.
  15. Yes, it does make sense. I see what you mean. My issue then was that A Camera would then only have Lav's 1/2. and B Camera would only have 3/4. The goal, I think was to have all 4 lavs on Camera A, and Camera B. That's where I think I'm running into the brain fart. thanks again, that does make a lot of sense. I'm going to pick up some ta5 adapters from Pro Sound on monday.
  16. Lots of terminology throwing around here, so let me try and break it down into wally terms (simpler than laymans) so I make sure I'm getting this right. Again, not gospell, thanks Jack for the input it's greatly valued. How do you give an "iso" track to the camera? The camera ultimately has 2 inputs. That would mean that: Channel 2 on the Nomad (lav 1) -> Goes to Output 1 Nomad -> INTO Channel 1 On Camera A. Channel 3 on the Nomad (lav 2) -> Goes to Output 1 Nomad -> INTO Channel 1 On Camera A. Channel 3 on the Nomad (lav 3) -> Goes to Output 2 Nomad -> INTO Channel 2 on Camera A Channel 4 on the Nomad (lav 4) -> Goes to Output 2 Nomad -> INTO Channel 2 on Camera A. Chan 2-> Output 3 -> Chan 1 Camera B Chan 3->Output 3 ->Chan 1 Camera B Chan 4->Output 4 ->Chan 2 Camera B Chan 5 ->Output 4 ->Chan 2 Camera B That's what I did. How would you do it otherwise. When you say ISO, you mean that you're sending a "Center" track not a left or a right? Am i thinking of this like a L/R out of an analog mixer? That might be where my train of thought get's skewered. I was recoridng all 5 tracks, isolated by themselves, to the Primary and Mirror cards. Thank you Jack!
  17. where would I find that? Zaxcom site only lists 2.76d
  18. What's the latest non-beta version of the firmware? I'm currently running: v.2.76d
  19. I haven't, but will try to do so. Haven't tried it with an external phantom..
  20. I did not use a meter, no. I called Pro-sound, and Jason said that there is no option for 48v, that Phantom On just means 48v, there's no setting for T power or 12. Yea, I haven't maxed it, but getting into the +20 trim is concerning I guess. Though, Jason mentioned that the numbers aren't entirely accurate. I'm keeping my headphones at 12'o clock, is that what you're doing Max?
  21. I think so? When I go into Channel 1 Setup, I have: Trim- 18db Type- Mic Limiter - OFF PHANTOM- ON Delay - OFF HPF- OFF HPF Freq- 30hz NotCH1 - OFF NotCH1 - 60Hz PHASE Normal
  22. Has anyone else found they need to crank the trim all the way up using a Boom Mic? I use a Sennheiser 416, Phantom Power is on. I just always seem to be cranking the trim all the way up. Is there a setting I'm missing, input limiters or something like that that I should check on? Thank you. -W
  23. My real world experience with the Nomad 6. I first field tested it on a friend's short film. Very simple, two actors talking to each other in different set ups. Very easy to run 1 Boom, two lavs and operate by myself. The real test came the next day, when I had a job with Showtime. I was super nervous, because this was probably going to be my biggest job I'd had yet. Plus, I was nervous that i'd freeze up and not know how to do something with the Nomad. I read the manual three or four times, so when asked how to do a certain thing, I was impressed to find that I knew which sequence of buttons to press, ect. Anyway, I show up at 8am, and find i'm working with another experienced sound guy, which turned out to be awesome. However, they only had a Shure 3-channel, and i was brought on for my Nomad, and just to help as a second sound guy. The producers tell us right away, "We have all top light, and don't want the boom getting in shot, so we need to have all 4 actors laved and we'll just use that." I've learned not to argue with producers and their belief that lav's solve everything, but the actors were wearing polyester dr. scrubs which I knew was going to be a bit of a pain. We had two Sony XDCams shooting, so I came up with a way to make everyone happy. Please let me know if anyone would have done this differently, this is all a learning experience for me. I walked over to set, auditioned my boom, and sure enough, the top lighting was all soft..and I did not have a single issue using the Boom. Still, again, I didn't argue, and just went ahead with my setup: Boom was Chanel 1, and Channels 2-5 where lav's. Using two Breakaway cables, I assigned output 1/2 to "A" Camera, and outputs 3/4 to "B" Camera. In the output bus menu, I assigned Lav 1/2 (Left, Left) to Output 1, and Lav 2/3 (Right, Right) to Output 2. Camera A now had Left as Lavs 1/2, and Right as Lavs 3/4. I kept the Boom isolated to the card, as well as each lav track isolated and being recorded to the primary and mirror cards. I mimiced the same output setings to Outputs 3/4. Should I have left them panned center? I wasn't sure, I'm used to working with a SD302 or 442, so maybe I did not perceive the outputs of Nomad properly. So, that's what we ended up doing. If I had my way, I would have had Channel 1 on both A/B camera be the Boom, and have the 4 lavs mixing down to Channel 2. So, that was my experience. Turned out to work really well.
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