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    mostly doc. prefers the slender cable of the sound department to the less elegant cable of the lighting department.
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  1. The kid is now getting his drum lessons via FaceTime, the Focusrite Scarlett Solo made it very simple to setup. Two ins, two outs, sets up in seconds if you have a usb port. Focusrite claims it'll work with current iPads via a usb hub. Long and McQuade carries them, if you're close to one of them. Stay safe, everyone. ST Toronto
  2. danke schöen, y'all. short notice hotel room vo, closest i can find in town is the chintzy moving pads from the storage places. thanks for the top secret tip, matthias, diese umzugsdecke sind perfekt!
  3. Thanks for the replies, i'm looking for something like these:
  4. anyone know where to score proper quilted sound blankets in berlin? they're proving surprisingly elusive. i've tried kortwich and a few g&l shops, so far no dice.
  5. my recent experiences on a trip from toronto to cairo may be worth sharing ... leaving toronto, i'm carrying on four anton bauer dionic 90's, carry on in a peli, taped, bagged individually. agent at the air canada counter asks if i'm checking any batteries. no, i'm my lithiums are in my carry on. not checking any batteries at all, she asks? air canada employees, she claims, have just that week (second week of march) received instructions to not let "any batteries" be checked. i have my rechargable aa's in my carry on also, i show her, we're good. i presume that she refers to loose batteries (of any chemistry), not removable batteries installed in equipment, but it wasn't the time to be asking about details. two weeks later, return from cairo. same carry on, same 4 li-on's, same 36 eneloop aa's. i'd already made it through one x-ray machine after ticketing, and there's another at the gate. i go through, and i'm eventually told, after a dozen men in suits arrive one after another and look at the batteries and talk into their phones, that my carry on has to go underneath. i produce the iata regs sheet, no lithium in cargo, unlimited spares under 100wh in the cabin and all that, i'm told that this is egyptair policy, not iata. we put it under, or it stays here. down it goes. (which causes gigantic mushkila for me at my layover in frankfurt, since my carry on goes to the carousel, meaning i have to go through passport control, import my gear, export my gear, passport control and security again, making my connection quite tight.) german security looked at the batts, and everything else, and sent me on my way, with the carry on going in the cabin. i suspect that the headache in cairo had to do with new electronics guidelines (i won't call them regulations) from airports in muslim-majority countries. my takeaway: for jobs in the middle east, i'm going to emotionally prepare for powering my bag, the whole thing, off aa's i buy at my destination. cart jobs, find a motorcycle battery when i arrive. and get used to the idea of checking my entire kit, since no mixer/recorder will survive the large electronics ban. zax recording wireless and an erx might make it on as a minimal recording kit.
  6. agreed. i own both, i no longer use the super for anything quiet. speaking of which, anyone ever experience the super being gradually swamped by self noise? it's usually acceptably quiet, but every now and then it'll slowly so hissy that i'll need to swap it out. no idea what causes this, it happens indoors and outdoors, city and country, humid and dry ... noisy super cmit.wav
  7. thanks, everyone, for the interesting and very useful information. when the discontinuous tc value occured, i had just switched off the d4t. i suspect that switching off the d4t, as opposed to having it leave the reception range of the d4r (also part of the workflow test), causes enough noise to overwhelm the quite robust square wave tc signal. hard to tell though, listening to tc is something i only do on very special occasions. to be totally honest, mostly i'm trying to get a little more mileage out of my d4. while it's an excellent tool for any number of applications, it doesn't always make a great camera hop. i considered using it as a tc distribution platform, but this excellent thread has convinced me not to send a mouse to do a rat's job.
  8. hello, john. thank you for your reply. i am aware that ltc is essentially a stamp at the beginning of a clip. my workflow test was as follows ... tc from sd633 > lectro d4t. sony fs7 with XDCA-FS7 rear module receiving tc via d4r. the camera reads the tc perfectly well, and from a vast distance, as i would expect with the d4. however, when i try to create noise on the tc audio track by messing with the d4t, i can cause a bump in the camera's read of the tc. this doesn't cause any discontinuity in the video or the audio of the clip, but upon review of the resultant clip, the tc jumps to some random value as the wireless feed drops out, then returns to the expected value three frames later, when the camera begins reading its own tc. this discontinuity is visually indicated in the scroll of the sony catalyst browse software. what i am trying to determine is, can this cause a problem upon ingesting for the post department? as for the erx, unlike other zaxcom products, the erx is dependent upon zaxnet for its tc sync. of course it has its own generator, but unless i misread this thread ... http://jwsoundgroup.net/index.php?/topic/22141-erx-hard-wire-timecode-jam/ ... the erx generator is not as accurate as the generator contained in my nomad, and will therefore cause a correction in the tc if the erx leaves contact with the nomad for, let's say, an hour. it won't be the random value like i saw with the d4 fs7 test, but it will be a jump, and i'd like to learn if this does or does not have any consequences for post production if the camera is rolling when zaxnet re-establishes contact.
  9. there have been a number of useful discussions here concerning wireless transmission of timecode, but i've not been able to find an answer to the following question … what are the consequences in post production of time of day timecode that has a timecode "jump" in the clip? case in point: in my quest to make life a little easier for my hard-working associates in the camera department, i have in the past considered ways of using the camera hop as a timecode device, and eliminate the bulk of the sb3 box. the lectro d4, for example, could be used as a stereo hop, with the third channel being used for tc. i've tested it, and it seems pretty solid, but when I begin messing with the d4 transmitter - powering down, removing the antennas to cause noise and dropouts - the camera (fs7 with the module) doesn't cut, but it does show a three frame glitch in the timecode before switching over to its internal generator. another thing i wonder about is the presumed "correction" that would occur when using an erx as a timecode source. if the camera wanders away from the zaxnet source, then wanders back a while later, discontinuous timecode, however slight, will inevitably result. if the camera is rolling when this correction takes place, how much of a problem is this for post production?
  10. this won't solve the op's problem, of course. but if you need to hear a walkie on set, how's about feeding it to your mixer?
  11. from most loved to least, cmc641 super cmit cs3e sm57 ntg3 4 x cos11 2 x tr50 2 x b6 (1 wired mm) 1 x cub1 1 x emw (wired mm) 1 x pinmic acquired over three hectic years.
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