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jacquesstar

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Everything posted by jacquesstar

  1. 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
  2. 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.
  3. That blows, I was looking at this DSLR for purchase. Going to look at C100 and C300 instead for topside shooting. Going to consider the new 7d coming out for underwater. Also would be less costly to replace if my housing floods.
  4. I am still confused with the file naming structure of the 664. Why is it still Scene 1 when I change folders? How do I know which folder is loaded that I created? Do I just highlight it under folder options? I am so used to my TASCAM, where I created a scene, and it would just put takes in that folder, starting at take 00. This is a but confusing in the 664 menu.
  5. So I have worked with the Canon C300, and jammed my recorder to the camera. How do I jam with a Canon 1DC? I have a 664 recorder. Is there a timecode input/output on the camera? I know that the C500 has one.
  6. I have a rechargeable Ansmann battery stuck in my SMV transmitter. Have had no problems before, but it has been really cold lately, so I think that the metal contracted in my SMV and the hole is tighter now. How the heck do I get the battery out?
  7. DSLR's are a PITA to operate for handheld doco use. I like using them on sticks or a monopod for interviews, and some artsy b-roll, but I prefer to use a traditional video camera, such as a handheld or ENG type for the rest of the shoot, and that RODE mike on bottom of the Canon is just plain retarded.
  8. I was talking about the ENG receiver only drawback is no top mounted LCD for working out of a bag: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=818992&Q=&is=REG&A=details
  9. Has anybody used Shure UR5 wireless mikes? What is your opinion as compared to Sennheisers or Lectros?
  10. Yes, I definitely like the headphones jack as well. I am thinking about getting a mini XLR to TA5 cable so that I can run the unbalanced mike out of my Sounddevices into the M187, and use the receiver as an IFB.
  11. So my two main wireless mikes that I use most of the time consist of UCR411a receivers with SMV transmitters, which I use either when I'm mixing and doing location sound or shooting gigs where I am a one man band and I have to run audio straight to camera. But, a week ago, I was shooting some interviews and the client didn't have the budget for a sound mixer, so I built my own little interview kit. I didn't even bother with the 411a's, instead, I used a Sennheiser G3 into XLR channel 1 of my mix Pre D, a Boom into channel two, and hooked up an old Lectro CR187 reciever into channel 3 via the tape return of the mix pre. I use the 187 receiver this way, because there is a convenient volume knob on the receiver so that I can conrol the levels more quickly easily rather than going into the menu of a Sennheiser or Lectro 411 to change the levels. This setup was much more convenient and user friendly since I had to run camera and audio at the same time during the interviews. Plus, things were constantly changing between people, such as two lavs during one interview, or a boom and a lav on the next one, etc, so it was faster to keep everything hooked up and just turning down a pot or turning off a receiver for a mike I didn't need at the time. Needless to say, the old CR187 worked flawlessly, clear as a bell with no RF. It's on an old military frequency, and it still comes in handy. Feels good to have old gear still make me money and give me good sound. Does anyone else around here still use older wireless mikes?
  12. Such a rad machine, but I ordered the 664 instead. Maybe in the future, when I will want a travel rig, this would be ideal, since it is so small, I could just get a couple of QRX 100 receivers, and it would be a really compact bag setup.
  13. The way I see for multicam and multiple talent, the tracking with no boom is the way to go. It would be a PITA to have a separate mixer for each camera with a boom and wireless, everyone would be getting in the way. I shoot reality as well, and I move around so much that I prefer not to have a mixer fly in a boom everywhere I go. ISO tracks with timecode work well in this situation. For lighter reality, with only a couple of cameras mixing a couple of lavs to channel one and a boom on channel two straight to camera is fine. In these smaller situations, I use a mono wireless hop from my sennheiser G2 IFB transmitter to a regular receiver on the 2nd camera, with a shotgun going to channel two. Also, to me a boom is useless in noisy situations, such as bars or restaurants, regardless of the size of the shoot. For the Wal-Mart TV commercial audio that I mix, which is reality style, I just use a couple of TRAM lavs, that even though they are omni directional, don't pick up sound over long distances, so the every day hum of the Wal-Mart (shoppers, carts, etc.) is very low in the background.
  14. Very well put. I feel exactly the same way about this. If I do have to hide the lav, I am always very polite, and if it is a female, I try to get her to participate as much as possible. Some non professional women have been very happy to let me put a mike in their bra, others have been more reserved, so I always use my best judgement and remain sensitive to each different personality.
  15. I have used a lubricated condom while filming girls gone wild, but it was on my own "personal" boompole.
  16. I have had B4B batteries on my P2 cameras for about a year. The batteries hold their charge well and perform well in the field. For my mixer, I use the IDX NP-1's. I decided to pay a little more, and I am quite happy with them. One battery lasts almost all day to power my FP33 and Mix Pre-D, TASCAM HD-P2, two 411a Lectro receivers, and my Sennheiser G2 wireless transmitter for IFB.
  17. I would buy a TASCAM HD-P2. It is a great recorder. The sound quality is excellent.
  18. Still pretty rad that you can use the Mix Pre-D with it and get 7 channels input. By the way, I love my Mix Pre-D, the pre-amps are awesome.
  19. I noticed AES inputs. Does this mean my Mix Pre-D will work with it for extra track inputs beyond the 6 mic/lines?
  20. I do have a Mix Pre-D actually. I am Polish and really, really want a Nagra VI partially for nostalgia purposes. Eric, what are your running throught the Mix-Pre-D vs. straight into the Nagra?
  21. Cool. Sticking with the 664 that I ordered. Once my business grows and I have more projects, and will need another recorder, I might take a look at it. Thanks for the tips.
  22. So not a good mixer? Not really going to use it for features, mostly doco, corporate and TV commercials with no separate mixer. Sounds like the Sounddevices is a better choice for this?
  23. jacquesstar

    Nagra 6

    I have ordered a Sounddevices 664, but I am wondering about the Nagra 6 digital recorder. How does it compare to Sounddevices recorders? Does it work well in a bag system?
  24. I have Ansmann 2800's for my lav transmitters. I re-charge them after use, but sometimes they sit in the box for a few days. The literature says that they should hold the charge for 3 years, but I am not sure about this, should I put the charged batteries back on the charger the day before the shoot if they have been sitting around for a while? Or, am I okay with using them a few days after they're charged? Thanks!
  25. Yeah, I wouldn't use that Zoom for production work, but I used to be in a band, and we had an older version of the R16, and it was pretty badass for just recording songs for demos and writing new songs.
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