Simon Koelmeyer

What's with the KTS website --- it's awful! All sorts of cheesy animation from the 1990's and no matter what you click on I was not able to find a single image of a bag anywhere. I would love to see at least ONE of their bags somewhere on the site.

Agreed - they do themselves NO favours - indeed possibly harm their rep with a site like this - however all I can tell you is their products and customer support is fantastic. I've owned Portabrace and Petrol in the past - and these KTS products are certainly, IMO, on par in terms of build, but many of them are built specifically to a certain mixer - not just, for example, a generic Petrol 602 etc....

look at http://www.ktsystems.co.uk

brilliant UK designer - well balanced, helpful, can custom change pretty much anything, well balanced, hard wearing, designed from customer feedback not by officebots...

 

they do make a brilliant 664/cl6 bag though it's not listed on the site  - sure they'll send details if you approach them

Sad to hear of this death.....a great loss to the sound community

http://www.bbc.co.uk...t-arts-20874953

As someone who grew up in Belfast in the 70s and 80s and was accustomed to daily bombing, shooting massacres, maiming of women/children/innocents and endless soul searching about the purpose of guns (and the obvious downward spiral of getting hold of a gun to protect oneself against guns) - and now as a parent living in the UK......... I watch the news in USA with horror.

Having travelled to more than 60 countries and spent time getting to know people around our world, my opinion is that my American friends (and all others I have met over the last 40+yrs) appear no more inherently homicidal than anyone else on the planet. We all have moments of 'red mist rage' whatever our cultural background. However, I believe that the ease of availability of guns in any country (and therefore the ability to punctuate or indeed 'close' a grievance with one) leads to massive problems. Which keep on repeating themselves.

I appears from studying the internet/Twittosphere etc…that the more you argue with any country's gun lobby, the more entrenched thier position becomes. Their bottom line defence (in the absence of futher logical debate) appears to inevitably be "we have inalienable right to bear arms. It is enshrined in our constitution."

So…..if you wish to debate it further….get a new angle?

The Guardian (UK newspaper) took the opportunity to examine some FBI stats a few years ago¹.

It appears that roughly equal numbers ofAmericans have been killed by fellow Americans in ONE year of domestic gun related homicides (8775 in 2010) as were killed in BOTH Iraq wars AND Afghanistan² AND 9/11³ put together.

Who is terrorising who?

Good luck in your journey to find a balance that keeps all of your citizens safe - gun owners AND (their) children

Have a Happy Christmas. I wish you all good luck and good health and a SAFE 2013.

1 - http://www.guardian.co.uk/news/datablog/2011/jan/10/gun-crime-us-state#data

2 - http://www.defense.gov/news/casualty.pdf

3 - http://www.c-span.org/pdf/911finalreportexecsum.pdf

Thank you all for your input. I will have a chew on your responses and let you know how I decided to proceed!!

yep. Big fan. V sad indeed.

Hi, and welcome...

" They are considerably cheaper than... "

and the rule is: Generally speaking, you get what you pay for.

Agreed.

I've personally used them for 6yrs. They work fine. Only problem is the LED power indicator strip has failed on 2 of 6 of them - so I don't know charge state - just need to keep an eye on the watch......! A single 73Wh will run my SQN and 4 radios for an 8hr day if I switch off often. For me, they were approx 50% cheaper than Hawk Woods/IDX etc...

However my 788T/Deva EATS them. If you're running one of those units - then a more expensive brand may be a better long term investment. I'd guess the 73Wh lasts 2hrs with 8 channels up on 788T ?

suggest you buy one SWIT and hire a Hawk Woods /IDX and do a comparison test on your day off.

Hello All,

I will be recording sound on the Dakar Rally in January 2013.

Re-located from Africa due to wars and now staged in South America, it is essentially an extreme endurance event for rally cars. 6000 miles in 2 weeks over the Atacama Desert, across the Andes twice at altitude of up to 5000m and travelling at around 90-100mph all day across 'moonscape' terrain.

http://www.dakar.com...3/us/route.html

I have been tasked by the producer to record drivers intercom at all times (as well as the stuff outside the car filmed with 3 x Canon C300 - should be relatively easy using the normal boom, 4 radios etc into a 788T)

My uncertainty lies with the in car recording and my questions to the group are two:

1) Does anyone have experience of recording in extreme vibration/rally cars for very prolonged periods? What kit did you use? pitfalls or winning solutions/tricks etc….

2) does anyone have experience with Peltor intercoms? failure rates and known workarounds?

The driver and co-driver will be in helmets in very small cars. They communicate with each other via mics hardwired into each helmet. They use this system.

http://www.demon-twe...CFUbKtAodnjoAHA

I can tap into that as it offers an Aux Audio Out on phono. Drivers will be filmed on Minicams - recorded onto a Panasonic HD recorder of some sort (no model numb yet). This has an Audio In via 3.5mm socket. I will connect the Peltor Aux out to the Panasonic recorder and let it roll.

Kit will be hard mounted to roll cages inside car. We start recording at the start line and essentially wave them off. Rushes collected at the end of each day at base camp. Totally unmonitored while in record.

As part of my due diligence in prep, I'm thinking about failure and workaround. Impedence allowing, I MIGHT parallel the Peltor out and record the audio onto another SD recorder e.g. a Zoom, an M1 etc…..something I can buy 2 or 3 of and if they break I can toss them.

Has anyone stuck one of these cheap SD card recorders in a rally car before?

How do they function in extreme vibration?

Or do you have a better idea?

Any negative experiences with this Peltor system?

Any information or opinons gratefully received

Thanks

Simon

For those in the UK - Henry at RFS in London will do this work for you if you're unable to do it yourself. See link

http://www.richmondfilmservices.co.uk/news/2012-11-23/82/

Thank You Paul Isaacs. I had my cables modified today and will report if the problems are ameliorated in the coming weeks

" .....in america. "

I confess...

I thought about that ...

so in EU, you refer to the male connectors on cable as jacks ??

yep - over here a jack or a plug or a jackplug......goes into a socket

I guess the terms change around the world......here in the UK we are also in a generation of transition from Imperial to metric and so things get more confusing .......I think in terms of XLR, we normally refer to male or female ends (not plugs or sockets), however, in terms of a guitar lead, we always use 1/4" (never metric measurements), but for minijack/ipod etc we always use 3.5mm (never imperial measurements)

we buy petrol in litres, but calculate efficiency in MPG, we buy food in KGs and eat ¼ pounders, beer in pints and vodka in Litres...….etc

anyway - getting of topic....my answer to the topic "Is the Canon 5D is capable of recording a good 'scratch track' for your project ?"- If that's what the customer wants then give it to them, but I'd tell them that personally I WOULD NOT use it for a final mix as Canon's internal mic AGC cannot be disabled and is hissy and it pumps audibly on critical listening.

If production INSIST on doing this, then there is a work around I use on my own 5D. I have installed Magic Lantern firmware (a freeshare project not approved offically by Canon) onto my CF cards. This is NOT permanently uploaded to the camera but remains on the card. You can do the research yourself, but the massive benefits are

1) It allows the AGC to be switched off

2) It gives you audio metering on the video screen

3) It allows you to plug your 3.5mm headphone jack (insert whichever international translation required ) straight into the A/V out to monitor the audio.

Obviously, this is not practical if you turn up on a shoot on the day and ask production to turn over their CF cards for you to pre-format. Not your job! - but, if you are in paid prep for a job that insists on a workflow that gives a Production mix on 5D - then I can recommend this as viable solution. MAKE SURE production are aware of the fact that Magic Lantern ALSO gives them visual benefits (zebra peaking etc….), but WILL change the menu systems seen by the operator.

.....in america.

I own a Canon 5D MKii and I send it sound from my 788T via a G2 Tx and Rx set.

On the Canon, you go to Menu - Tools - Live View&Movie Settings - Sound Recording - Set to 'Manual'

With this setting activated AND a 3.5mm (is that what you Americans call 1/8" ?) stereo jack in the Mic Input - it disables the internal mic.

BTW - The mic input of the 5D is extremely sensitive. With zero level tone hitting the Rx, I have the camera mic input '2 clicks' above off to get the tone hitting the right levels

And as you've discovered, only death or retirement stops the upgrades to a sound cart....

phil p

Hahahaha......so true

You're too kind Vasileios. God bless you! I hope the underground success continues for the film and it makes it into cineplexes across Europe. If anyone can break the major studio distribution domination model, it's Marcus Marcou!

Joined up a few months ago.Based in London. Love this site - a great global resource. First of hopefully many annual donations made. Thanks very much Jeff!!

Hello All

This primarily concerns UK based recordists (or others on channel 38, 606.5-613.500MHz)

just had a fascinating chat with Kish Patel, MD of Audio Ltd, who's radio mics many (most?) of us use.

He tells me that Audio Ltd found that the Sound Devices 788T emits RF, via input and output cables, which cause interference with (and decreased range to) our 2040 radio kit, and for that matter any other radio mics tuned to certain frequencies.

The precise physics I'll leave to him to explain, but suffice it to say, they have produced the following list of frequencies which the SD788T emits in CH38/39/40. Simply put, our audio is at higher risk to 'hits' on channel 9 and increased (but lower) risk on channels 3 and 5 of our packs as they are too close to interference. Channels 14 and 26 are also affected, but these are in the CH39/40 range.

Emissions from 788T in the CH38 region.

L 611.0

H 614.4

L 608.3

L 604.5

H 602.1

H 617.4

H 626.7

(L = low level, H = High level)

Not sure if everyone else was aware of this or whether or not it was already common knowledge - but it certainly is news to me and a few of my colleagues. It would appear there is now even less choice in already congested airwaves in UK.

Anyone from Sound Devices care to comment?

Hope all healthy and busy Stateside - good luck at the polls tomorrow (whichever camp you're in!)

S

Our director - Marcus Markou and one of the stars, Georges Corraface - will be there at the screening on Weds. Please do introduce yourselves to them. They are the friendliest guys and will probably want to ask you about the film industry in Greece!

Timecode is an issue. You can not send the FS timecode at all and the timecode output is a work around, but possible with the correct tools.

The SD Pix can read the Sony TC via HDMI out. I was able to jam the Pix with the FS set to time of day. Once you send TC you can pull the HDMI cable and the Pix will continue to hold it. TC on the Pix slipped 1 sec in about 6 hour.

I suspect you once the pix has locked to the FS TC then you could send the it to another device like a recorder.

Yep - worked with this camera yesterday on a corporate gig. TC out via HDMI connector only. No BNC or Lemo connectors on camera for TC

recorded separate sound on 788T and got presenter to hand clap for sync

Yes! I believe that "Papadopoulos and Sons" is at that festival! - I was the production sound mixer on that movie. The post and orchestral work was done at George Martin's Air Studios in London. Hope you enjoy. S

http://tiff.filmfestival.gr/default.aspx?lang=en-US&page=1057&SectionID=214&MovieID=2375

Hello All,

Came across this article which resonated deeply.

http://www.dailymail...-inaudible.html

No idea who recorded it, but I've got a deep suspicion it was an excellently recorded shoot featuring mumbling and whispering actors ?

Wondering what kind of psychology you sound mixers are employing these days to coax more level from actors - or to get directors to ask for more level from actors?

Currently recording a 2hr 1850s period drama for British tv which is often a 'whispering contest'. On at least 30% of scenes I'm running Audio 2040 radio booms with the TX pack on '7' and the AD149 gain pot at around 3-4 o'clock to get dialogue occasionally peaking at PPM 4 (for those unfamiliar with the kit - i'm saying that i'm at the absolute limit of what the kit can do)

On one hand, I realise its none of my business to ask an actor to change an artistic performance for me - but on the other, as a recordist on set, I'm simply a service provider with responsibility to the persons paying my wages and it's incumbent upon me to deliver them the best product I possibly can - and If I have to upset an actor's ego…..so be it. On second thoughts, perhaps it is, quite literally, my BUSINESS (which is at risk)??

There's a fine line to be walked between those two areas and I'm interested in opinions from overseas as to how you approach this problem, which, I'm sure, is worldwide.

I've taken to trying to explain that if the actor is using 10% of the available dynamic range - then the rest of the dubbing/re-recording mix must subsequently be bedded in under it - it all becomes a strain to hear - consumers/the public turn up the volume on the TV - (and additionally as a result the public then complain the adverts are therefore, comparatively too 'loud' - {cue discussion on 'loudness'})...….and sometimes articles like the one above are generated which reflect negatively upon their product/programe. Here, the audio has taken a beating - and the audio team, of course, are probably not actually responsible. I guess (again) that perhaps it's a case of the director not listening to the pleas of the mixer for 'more level'…...

I don't work in movies where the dynamic range of the performance can be exploited in a proper listening environment. I work, generally, in (low end) TV, where the programme is watched on a 32 inch TV in the corner of the room.

All input appreciated.

Hope all busy

SK

Hi Brynn

sorry to hear of your problems - and sorry to read one or two patronising, supercilious and unhelpful replies.

I used the same method for years on my old Deva 4 and had almost zero trouble - even when our paths crossed on the same shows. - i.e. set TC on DEVA and then o/p that to an Ambient Lockit box which now becomes the 'MASTER TC DEVICE'. From this Master TC Device, jam as many Lockit 'clones' as needed and stick one onto each camera and, yes, the DEVA itself.

Set the Deva to ext code/cont jam and plug in a Lockit. During your pre-shoot tests, use the 'mirror offset' feature to dial in as many Ms offset as required to keep editor happy.

So this leads me to ask

1) is it a camera problem?......... Is it one particular camera that drifts?- maybe the Deva is fine and one of the camera TC boards is 'ill'?

2) Is it a Lockit problem?........try hiring in a new batch for a few days ? If all works well, try feeding your units back in one by one try and weed out the 'rouge' unit that may be playing up...

my tuppence worth

S

thank you all for your replies

Hi all,

I'm UK based

I currently have a PSC CART POWER unit which takes 240V or 12V DC from a block battery.

It gives 6x12V out on 4pin XLR

I need to replace it soon as it's beginning to c**p out on me.

What are you using these days? - looking for ideas of SMALL, LIGHT distro

many thanks for any replies

Simon

Thank you all very much for your helpful replies.

Agree with Joshua Anderson "Once I change the menu setting, the 788 reads all trims as being all the way down. So I end up adjusting each individually and then putting it back into fader mode. Since the channels are coming in Pre-fade, that sort of locks them in" - this too, is doing my head in.....not my kind of logic

Next daft Question - Anyone know how to store 'pre made notes' to add to each take? - We had that in the DEVA where we could store 'pre-written' entries i.e "Wildtrack", "MOS", Good", "Room Tone" etc etc....and simply select them from the STN page - or with my new SD788 do I have to type them in each time?