Mobilemike

The manual for the HD-P2 describes how their virtual tape system operates, where the rotating selector allows the user to scroll around in the "timeline" and each time record is pressed, that point in the timeline becomes the start point for a new file on the card. Please note: This was all done without any sort of external timecode reference, and the HD-P2 does NOT have its own generator with the ability to specify time-of-day or any other start time. I cannot recall at the moment whether it was capable of free-run timecode, but I seem to remember that it wasn't.

I attempted to use it as my primary recorder on a project, and when the director asked for playback review, that is when the problems started to be discovered. Assume for a moment that the recording for file #1 went from 00:00:00:00 to 00:02:00:00, a 2 minute file. If the director wanted to hear that, I would have to scroll backwards in the "timeline" while trying to recall exactly where the start of that file was - There wasn't any way that I remember to just replay the last FILE, everything had to exist on this timeline. I could stop playback in the middle of the file just recorded, say at 1:30 out of 2 minutes... And the timeline would remain at that point UNLESS I scrolled back past the end (and I could just keep scrolling!) or as the manual shows it, the files would have overlapping positions in the timeline. I don't know if that would result in the earlier FILE being partly overwritten, or if the machine would just screwup the timecode on each file where they overlapped.... It was a silly design.

The other thing I didn't really like about it as a recorder (For anyone who only wants a 2-track, and doesn't need / own a mixer in front of it) is that the two level faders are interlocked with each other. This is just fine if you are using it as a bit-bucket behind a mixer like the 302... But impossible if you are using it to record a boom and a lav separately. It would require both hands to adjust the level, one hand to hold one of the pots, while the other was forced to turn against the friction.

Just another thought - I have an HD-P2 that I've used as my main recorder on DSLR shoots (always behind a mixer - as I completely agree with your comments about the interlocked level faders). I run it without any timecode and I've never really experienced a problem with the "virtual tape" system. Admittedly this may be a failing on my part since I never really read the manual when I got it and instead just jumped right in, but I've never had an issue. I hit record, it records a file (Take 00) I hit stop, and the record, and it records another file (Take 01). If I need to play back I can just navigate to the project menu, select the file I want to play from the list of files in the project, and hit play. I don't however really need to pay attention to the numbers in the timeline and I suppose if you did things would get a bit more confusing, but at the moment it works great for me.

Cheers!

-Mike

This is a couple of years old but I just saw it the other day - please be careful everyone!

http://gothamist.com/2010/04/08/nyu_students_death_on_set.php

-Mike

I hope you don't think I was being rude. My point was specifically NOT to be rude, but to warn you that these threads get heated quickly around here and sometimes they get very hostile. I hope this one stays civil, and best of luck finding someone.

Thanks Alex - I did have a negative gut reaction to your initial post, but I see it in the light you intended it and I do appreciate the warning. Although I'm new to production sound and to this forum, I've been around in the post world for quite awhile - long enough to grow very tired of people asking for work for "copy and credit and a tuna sandwich" - so I do understand that reaction to this. I did not think of this posting as falling under that category however - rather I wanted it to be an opportunity for a fellow up and comer like myself looking to gain experience and make a little cash on the side. No offense was intended, and none taken.

Now back to your regularly scheduled programming

-Mike

I do understand that $200 is extremely low, however for someone who is new at this and learning (like I am) its not terrible. Obviously I'm not looking for a professional here, but for someone who wants to gain experience this is a great way to do it and make a little money on the side. I'd rather offer it to someone who is a part of the community here than have it go to a random person, as this place has been great for me starting out.

-Mike

Hi -

I need to find someone to fill in for me on a shoot tomorrow (Thursday) and Friday. Easy shoot - using a Canon 5D so no timecode, just a boom and 2 lavs recorded to an external recorder. Should be easy 8 hour days in NYC. Low budget film so pay is $200/day all inclusive.

Email me for more info at fowlersound@me.com

Thanks!

-Mike

I used my CS-3e for the first time yesterday and I have to say I was blown away by how good it sounded. Used it for all interior scenes yesterday, hard wood rooms, and it sounded great. Definitely has a great reach, and was able to pull clear dialogue out of crazy scenes. So far my favorite mic for location work!

I've used the CMIT for ADR, not booming but my impression was that it is a good sounding mic, just a little flat and clinical sounding.

Cheers!

-Mike