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Everything posted by jacquesstar

  1. Greetings, The following were stolen near Cowboys Stadium in Arlington, TX on Monday night: Sounddevices 664 s#KA0512354010 Petrol PS603 audio bag harness UCR411a Lectrosonics receiver s#4139 UCR201 receiver s#5456 2 SMV transmitters/bodypacks 1 UH400A plug on transmitter s#4310 1 UM200C transmitter s#11495 G2 transmitter, cables Thanks!
  2. Yup, already figured that out. Oh well. I was trying to figure out how much I could save or use with existing gear. Block 21 is great here, block 25 not so much in the city, still works though, even on my scans don't find a totally clean spot but it's decent. I wanted a slot receiver for my HDX900 to avoid the hassle of the wireless plate and boxes, and keep the 400 and 200 series receivers for when I am doing audio or my soundie is working out of the bag, and have the option of wireless hops.
  3. Okay, I'm reading up on the Lectro compatability modes. I have 411a's in Block 25, unfortunately, my G3's are A blocks, 546-558. My only Block 21 Lectro is a 201 so no go for testing this, I don't think the 201 has a compatability mode? I am tempted to go dig in the menu right now...
  4. Forgive my lack of knowledge here about this subject! I have no idea.
  5. I recall someone saying that the Sennheiser G3 transmitters are compatible with a different brand of wireless slot receivers. I can’t remember if it was the Lectrosonics SR series or some other brand when switched to compatibility mode. Can someone please tell me which receiver would work? thanks,
  6. Okay great, will be doing a bench test within the next couple of days. Jamming my HPX3700, HPX370, 664 and slate, and then disconnecting all of them and letting them run for a couple of hours to see what happens. Will have both cams in 59.94, and 664 in 59.94 with the slate in 29.97, since there is no 59.94 on it. Thanks y'all for your help.
  7. Okay, so 59.94 on camera and 664, but no setting on slate for 59.94, only 29.97, do I use 29.97 in my Denecke?
  8. Okay, so here are my timecode settings: Panny HDX900: 59.94, 24p mode, NDF Sounddevices 664: 24p timecode Ext/Cont. timecode Denecke TS-C slate: postion 3 for 24p. Slate and 664 are jammed via lemo cable, sometimes unplugging slate to go slate something. Timecode drifting on camera, slate and recorder are the same. Don't have the HDX900 any more but have my HPX3700 sitting on the shelf, so I could do a test and put it in 59.94, 24p with the same settings. Theories so far: 1. wrong setting in one of the devices 2. i dropped my Denecke slate on the gravel once or twice, maybe the crystal got busted? 3. Sounddevices 664 has latest firmware, but maybe a bad crystal?
  9. Okay, so I now have a 664, and my TASCAM HD-P2 doesn't power up anymore, the screen flashes on for a second and then it dies. It is past warranty. Asking for opinions here, should I sell it for parts, trash it or get a repair estimate?
  10. Okay, cool. Will run audio into camera. Shoot is low budget, so I am not willing to pull out my 664 for this gig. They want two lavs and a boom, so I will use my FP33/TASCAM HD-P2 rig instead jamming my slate to camera time of day, switching to generate and jamming my TASCAM to my slate, panning the typical way two lavs on one track and boom on the other. From what I understand the SDI connector has timecode, right?
  11. Has anyone run audio into a Blackmagic camera? I will be mixing for a shoot with the Blackmagic and I have never mixed for it before. Are there reliable audio inputs or do you use double system sound? Thanks!
  12. I lost my antenna to my block 21 UM200C transmitter, I put on a block 25 antenna. It works. Any pros/cons to this? thanks!
  13. I am probably not going to make the purchase. I don't want to mix my gear too much. I have mostly lectros and Sennheiser G2/G3 series, so having another type of mike connector seems unwise. Want to keep my backup mikes with TA5 and 1/8 inch connectors, don't wanna add a lemo to the mix, because I would have to invest in another type of backup. O would also have to make a custom lemo to xlr or TA3 to use it as a wireless hop along with a G3. Seems like I should spend the extra dime and just go with the SR series for my camera. I would rather just go to all lectros and stay compatible with other peoples' gear if I am on a multi cam shoot. Seems wiser this way.
  14. I have a chance to get a couple of Sennheiser EK3041 slot recievers for a low price. Does anybody know if they will work in my two Panasonic P2 cameras? I have an HPX3700 and an HPX370. I would just need the Panasonic adaptor, right? Also, would G2 or G3 transmitters work with the EK3041 if they are on the same frequency block? Or would I need another type of transmitter? Thanks!
  15. I use the BEC group wireless receiver plate, I unscrewed Anton Bauer gold mount on my two P2 cameras, and installed the plate. Then, I screwed the side plate into the L-shaped backplate, and I put the BEC group wireless boxes screwed onto the side plate. I have two boxes for my UCR411a recievers and one for my UCR 201, plus a box for my G2 and one for my G3. Also considering a Sennheiser slot receiver Sennehiser EK3201? for my cameras possibly.
  16. Simple 2-channel recording setup I use for Wal-Mart commercials. Half cart/half bag
  17. Used this Porta Brace, but have since moved to the Petrol PS602 instead, has more dividers and more room. I have since put my 664 in the PS602, and moved my Shure FP33 and TASCAM to the Porta Brace bag.
  18. I have 3 mixers, a Shure FP33, Sounddevices 664 and a Mix Pre-D. I use the FP-33 or Mix pre D with my TASCAM HD-P2 and my 664 by itself. Currently, I have a Petrol PS603 bag and a Porta Brace AO-2U audio bag I felt like the 603 had too much empty space, but my AO-2U started getting a little crowded. Thinking about using the Petrol instead, and just using the Porta brace with my smaller mixers/TASCAM But, the main reason I went with the Porta Brace is to have all the cables going in/out of the Petrol into the 664, I have to have it in the first divider, and it's hard for me to access the buttons when it's resting against my belly, the mixer sinks in a little. It's a lot easier to access the controls in the Porta Brace. Attaches some pics, what are your thoughts?
  19. Okay, So my Lectrosonics 411a has a loose battery door, so the XLR jack, etc. drops out about 3 millimeters. The receiver still works, but I don't want it to get any worse. Somebody told me that it's a set screw inside that I have to adjust. Has anyone had this problem before? Thanks!
  20. I am a freelance lighting cameraman as well as a location sound mixer. There are times when a DP flies in, hires me as a sound guy, and rents my lighting and grip gear. It's definitely some good extra money in my pocket. I also shoot quite a bit, and I usually get the rental of my light kit on my shooting days as well, unless all the gear is provided. My c-stands and lights have paid for themselves many times over, but that's just my world. My main markets are corporate, TV commercials, documentary, reality and every once in a while news or newsmagazine style shows, where it is mostly on location and more of a smaller ENG/EFP type crew. If I am shooting or doing sound in the studio, the lights are usually already set up or rented there, and all I bring is my camera or sound gear. Bigger film style shoots are much more compartmentalized, and bring in entire grip trucks, etc. I think that you have to assess your market. If you do decide to invest in lighting, you can't go wrong with an Arri kit and a softbox. My personal kit has two Lowel DP lights, two sofboxes, 2 Lowel Pro lights, a dimmer, and a 650 watt Fersnel, plus gobos, c-stands, etc. I also have a couple of small 200 watt HMI's, plus two 1x1 LED light panels that are bi-colored and can do tungsten/daylight. I have gold mount brackets on the backs of the LED's and I can run them off of brick batteries, they are awesome, and allow you to move quickly, great for reality type shoots or on the fly documentary interview setups.
  21. LOL, I put a sheet of thick plywood against the bumper of my SUV and used as a skate ramp, it was pretty fun
  22. Okay, so I can us the link I/O to connect my 664 and a Mix Pre-D, but it only sends the Mix Pre-D to the master bus, so I can't re-route it to X1 or X2? I just wanted to see if I could record additional ISO tracks by routing only the Mix Pre D to X1 or X2
  23. Okay, I figured out that the bottom level folder can be set to "scene" and every time I change the bottom level folder's scene name, it creates a new folder. simple
  24. Yeah, but the way we do it is different scenes in one day, and each scene folder has however many takes in it, so it's "scene 1 take 1" "scene 2 take 1" etc. This is how we edit the TV commercials that we do.
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