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jacquesstar

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Everything posted by jacquesstar

  1. Okay, there it is. Thanks! I will save this manual.
  2. I quite can't remember how to up the power of my SM transmitters past 50 milliwatts. I remember pushing some buttons with the unit off, but can someone refresh my memory, please? Thanks in advance!
  3. Who already has theirs? I ordered mine thru B&H, but they said it will "ship in 6-8 weeks" on the website.
  4. I have mixed audio for RED epic before, but just a stereo mix. I know that the RED can record 4 channels of audio. I have two mixers in my bag, an FP33 and a Sounddevices Mix Pre-D. How would I get 4 channels of audio into the camera? Thanks!
  5. Wow. I was always afraid to approach the RED because of the supposed workflow issues. My company has been sticking to P2, DSLR's with ProRes recorders and HDV tape for all our in-house production. But, if you think about it, you are spending more for a Sony F5, but it already has a built in recorder, built in shoulder mount all you have to buy is the XDCAM cards, with the RED, it looks like you have to buy more accessories. So, the price point is not that different in the long run.
  6. Do those Zaxcom receivers allow the use of two radio tranmitters just like the Lectro SRb's?
  7. My 664 hasn't arrived yet. Wondering as to whether I can get two more track inputs in addition to the 6 VIA my Mix-Pre D?
  8. Thanks Nic. Ordered my 664 from B&H and they said November 15th.
  9. Okay, I see. I thought there was some sort of Lectro/Sennheiser combo that worked. Heard this from somebody but not sure if it was true.
  10. That is exactly what I had to do, put AA's in and it worked just fine.
  11. Interesting, I heard that people got the 190 series receivers to work with the G2 transmitters if they were in the same frequency block. Wouldn't see why not.
  12. I have battery eliminators for my G2 recievers, but I keep getting a buzzing noise when I hook them up to my BDS, sounds like a grounding issue or possibly RF splatter. The noise is gone when the battery eliminator is hooked up to the BDS outside of my mixer bag. Still trying to figure this one out.
  13. I am currently using UCR411a radio recievers for my wireless lav's. I also have a bunch of old Sennheiser G2's. Was wondering if adding some UCR190 or UCR195 recievers would add any advantage? Seems like a step backwards since it's a fixed frequency, but is there any improvement otherwise i.e. reception range, etc?
  14. Looks like a badass camera. Supposed to have 14 stops of latitude. Finally, glad to see a usable viewfinder and shoulder pad, no more messing with a bunch of clumsy rigs, I have never liked any of the shoulder rigs for cine style cameras and I always found them uncomfortable or lacking in some department, that is why I always liked shooting on the Varicam. I'm looking forward to hearing reviews once this one comes out.
  15. Good one Senator. Now, I ask many, many questions. Work has been much easier and much more pleasant this week, because I am communicating better with my compadres on set.
  16. Go Pro or dash cam in cars, I've always done double system. Sometimes, I will lav the people in the car, slate in front of the Go Pro or dash cam, and stick the audio bag in the trunk with the recorder running, ride behind the car in the production van, and plug the IFB into the car radio input, pretty standard in the production circle I run around in. Not that this is the proper technique or anything. We really don't know what we're doing, but we try to look cool while we're doing it "Bring fancy equipment, turn nobs and dials, use big technical words, send invoice"
  17. Yes, actually this coordinator knew exactly what a 744 and a 788 was, they just never asked for it, so I showed up with a 2-track. The one confusing part is that a lot of these people don't know the difference between a 5-channel mixer and a 5 or more track recorder, etc. I had to explain the difference. No matter what the shoot from now on, I talk to somebody beforehand, either the producer, coordinator or editor, asking how they want mikes panned, how many tracks do they need, etc.
  18. I am the button monkey, watch me push my buttons and turn the pretty knobs... Needless to say, I will never, ever provide a mix again that I think sounds good, and leave that up to post. I have learned from my mistake. I hope that it doesn't damage my reputation and result in less freelance work, but there are thousands of production companies out there, so I doubt it. I guess officially you can say that for reality, the soundies are "location sound recordists" and not "location sound mixers" I can't wait until my 664 arrives. It will be nice to have ISO's and be able to provide my own mix, and let post decide what they want to do. Just for the record, I am currently using a TASCAM HD-P2 in my bag.
  19. I recently did an MTV reality gig where I was booming a lot, and the producer wanted that. I was running a 5-channel mix to my TASCAM 2-track recorder. Unfortunately, there were huge communication errors from the get go. I e-mailed the production coordinator a week in advance exactly what was in my kit. She never e-mailed me back saying that she needed 4 or 8 track ISO recording. (I would have gladly rented a 744 or 788) So, I was panning one lav left, one lav right, so that RF hits were only on one track, and panning boom to center, so that even if there was RF on the mike, there was boom picking up the dialogue as a backup. Then, the editor and post were complaining that I mixed it this way and that I should have panned the lavs all to one channel and the boom to the other. They could have told me that from the beginning that they wanted it that way. I listened to the audio after the shoot and it sounded fine to me. I had the boom very close to my talent and was properly booming everything, but they still bitched about it. It was a pretty bad experience, but I have learned from it, and until I get my 664, I am going to always pan lavs to one channel and boom to the other.
  20. Amen to that brother, I sold my 302 and I regret it as well. I still use an FP-33. I can't wait until this 664 comes out, it can't be soon enough, I am pre-ordered and waiting in line. Tired of my TASCAM 2-track, ready for multi-track already.
  21. Compression and resolution are important to a certain degree, but I have been shooting TV for 13 years just as much as I do sound work, and I have always found that better glass makes the biggest difference. You can have an awesome sensor and a mediocre lens, and it will still look mediocre.
  22. Personally, I always advocate the use of a slate, esp. for post. I like the editor to see which scene and take it is so that he can match up audio and video files, that way, scene 1 take 1 from my recorder matches the visual video clip scene 1 take 1, and so forth. Also, the clap is always useful for a backup. I know it's my job to do audio, but I also am on a team, and I try to make everyone's job as easy as possible through teamwork.
  23. I pre-ordered the Maxx, but switched my pre-order to the 664. I would rather have more ISO tracks.
  24. Isn't this better than the Maxx by being able to record 6 ISO tracks instead of the 4 ISO's that the Maxx does?
  25. I agree. Workflow and menu setup is slightly different in each device, and it all comes down to personal preference at some point.
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