tonetripper

do you have the schematic or the order for these. This cart is exactly what I'm trying to come up with for my kit. My rubbermaid is working fine but its too bulky and big. Really great build by the way! Paul

I have some camera teams that feel the need to not leave sync boxes on cameras. Should this be the case? I obviously try to indulge them in the sync box but just wondering how well they hold code? Meaning the Venice

You've got to use them at low squelch. It's not diversity so on high squelch the RF will be very ropey. Also I recommend using a dipole antenna with the G3 Tx. Lo squelch will help if set on receivers. Sent from my iPhone using Tapatalk

I like the Bose noise cancelling ones the best because during noisy environments where I may wear a construction hat I can tell better what comes to me, and they are super comfortable and great for plane rides. Sent from my iPhone using Tapatalk

I'll raise it to the directors attention but that's where the fight usually ends. Most of them should know better IMHO. Saying that, the scissors are much finer and with many more tools at the editors disposal to seam together their edit. Sent from my iPhone using Tapatalk

Well I've had this happen to me two days in a row now and my suspicions are lying with extreme sandisk. Now on Delkin approved media so I guess we'll see

Thanks

Hey James for some reason, and it may be that I purchased the app before you added the power control, I don't have that functionality on my app. I don't want to buy it again. Is there a workaround? Ive already deleted the app and then reinstalled from the cloud but still does not appear on my iPhone 5. I use the app all the time and that power functionality would come in handy at points. Paul

The 633 all the way. No moving parts. Good limiters. Decent preamps. IVe owned a 744. Own a 788, 302, 633. I use my 633 even for drama. You'd be hard pressed to notice a difference in fidelity between it and the 700 series from SD. Also track selection is a pain. You have to go in the menu to alter certain things ( been a while since I used it - sold it a while back ). 633 is one of the best sound purchases I've made

"Bending over in anticipation" - Ao Loo

I stand firmly planted between both. I've used the 788 CL9 setup for a few years now and am just now upgrading to the SXST. The reason for this is simple. Dynamics. I want to have less physical control of the dynamics through the use of the input limiters. The limitations of the control surface is the need to adjust the mic pres in order to deal with the peaks and valleys of levels. The limiters can only contain so much on the 788 without, to my ears, hearing the breakup and my need for creating continuous background level in my ISOs without hearing those adjustments for those loud/soft moments. I have had great success with the control surface because I'm comfortable with being inside the machine, but at the end of the day I need the EQ, I need the limiters and need the tactile aspects of the "big iron" as it were. Also I think it's purely selfish as I want to hear my mics as they are meant to be heard. Saying all this I'm not afraid of the control surface. I've made it work to good effect thus far. They both have their advantages. Deep down, however, the sonosax is priced so high for a reason.

Like a good wine - depends on the year for th ol 416

Three words: Complimentary frame sizes Works for lighting and sound for the most part. Saying that, outside noisy exteriors - dealers choice.

Thanks Chris! House of Cards is also a fantastic sounding show. I'm sure Bruce's ways may have rubbed off on him to some degree. i may do get in contact with both of them as I'm impressed with both shows and am always challenging my own ways of negotiating audio in my own universe. I love this forum for the communication. Paul

That's an amazing read Jan! Thanks! Fascinating all the folding of simulated location sounds built in after the fact. Some very real moments there. Sent from my iPad using Tapatalk

So I just started watching "The Wire". First off amazingly realistic feeling show. The characters are intense. The camera work is very interesting and documentary like, in fashion, but merged with some nicely orchestrated dolly moves. The thing I am most excited about is the audio given some of the framing. I checked out IMDB and found out that it's Bruce Litecky. Wondering how much of the show was boom if any and what kind of wires were used on the show (ie Tx Rx/mics), and what kind of mixer/recorder set up was used. Haven't really checked out American Horror Show but I've read about the sound mixer in Sound and picture. On "The Wire" I heard a few points of ADR but if there was any more it was tough to spot. Hats off Mr Litecky. Thanks for amazing work! I'm a fan. Sent from my iPad using Tapatalk

I'm working potentially with the dragons in February on a show up here in cold canada. Any issues with TC and/or fan whine? Also what is the sync box of choice for them other than Zaxcom. I'm quite happy with my modded SB2As and SB3s

Well I wrestled with this concept for some time before biting at the control surface aspect. The jobs (in IA) have been running the gamut at this point. A couple of shows I've had to resort to having a bag at my disposal for circumstances where the actor is driving a vehicle with another in the passenger seat and camera shooting from behind with focus puller and director (of course no space for me). In this case the CL9 has been great for the quick pace of TV. I just simply unplugged the USB and plugged in the CL8, VR field that is in the bag (the brains of the operation) and popit in the trunk with antennae. For this sort of wave of filming (and it seems to be happening more and more) this setup makes perfect sense. Also the time that is needed to track select and be on top of the end product for post has been great with the CL9. I also have employed EQ at points (as dangerous as some may think) when the background steam or other shit going on with SFX has been kind of crazy enough for me to take the chance to filter and or make the dialogue more intelligible. Routing is also dead easy with the control surface setup. Generally I don't EQ much unless I have a really buried wire (due to clothing choices) and I want to push the top end a bit or the background demands that I take a chance in doing so. On the other hand I've done some second unit with some very whispery actors and have come up short in the audibility of the pre-amp noise of the 788. That has been the struggle. In the future I'm going to try to have a cart that is analog based, locked and loaded with a separate bag for those "bag" type moments. There is ofcourse an issue with this as the bag is not nearly as FAT as the cart. At the end of the day it's hard to say 100 percent what is preferable with post as they do love to build the audio and the noises on sets seems to be noisy enough that is seems like your bashing your skull in thinking why you spent all that money on such a beautiful sounding machine. I guess at the end of the day it comes down to those quality moments where a control surface doesn't measure up to the beauty of a dedicated analog mixer preamps and limiters. It is the downside of the control surface. If you are doing nothing but television and the plunge to buy a dedicated mixer seems to be a large mountain then the control surface is a great way to go and keep working. It's funny we are the least thought of people on set (well most sets) until it all gets into post and then the voices start to drive around to the knives with the coats that hang on other people's backs (I jest ) then you start to recognize that having a dedicated mixer with beautiful pres and limiters is the way to go. Depends on the job, but really we are all about fidelity given the limitations. Might as well make it count. I'm making do with the 788 CL9 CL8 combo but it's on the laundry list of upgrades to get the dedicated mixer. Tough to do if the jobs aren't there completely to take the plunge, however the return comes pretty quickly if the jobs come, so if you build it they will come. Great thread! Paul

Actors also projected so the mic could be 2 or more feet away and translate

i think the most important thing is intelligibility of dialogue while maintaining consistency with your background. In the world of tv the turn around is sometimes so quick for post that our job, sometimes, is to deliver audible audio regardless of background. I like to defer to the director in all cases. I make the note, they tell me what they want to live with, and I adjust. If the fountain can turn off on closeups then great, but if it can't I adjust. Also there is something to be said for delivery by actors in loud circumstances. People will always try to be heard when speaking even if a loud noise exists, so the whisper goes to a projected stage actor volume. If the director is happy, I am too. The idea of post building it with wild tracks is becoming far and few between IMHO, I've also spent tons of time in documentary trenches to know how much wires when properly placed can beat the background. Rubberized hogs hair is the best for water stuff. Also, in a tv environment, when the 1st AD gives you the hairy eyeball, cuz you want roomtone of the fountain that they have sound libraries for that will never match the street ambience on their rebuild in post, I think it better in most cases to minimize and make it work. Remember when that fountains off that truck driving by just got way louder with, all of a sudden, whispering actors.

No youre not. The headphone amp isn't nominal to your output from that camera w headphones at full crank. I find I have to turn up my headphone volume on the 633 in order to match the volume from the stereo buss on the 633. I wouldn't worry about it. It's a better sounding headphone preamp than most cameras. If you are getting sound to it and it sounds relatively as good as your output buss then all is good. Remember the C300 is basically a moving stills camera. The fact that it has decent sound functionality is a bonus.

Definitely need a carnet, but depending on what country you are from would dictate your need for a visa. I've travelled to the states countless times as a Canadian for work and have never gotten a visa. For me the rule is that you use canadian 4 times in the sentence when dealing with customs. Working for a Canadian production company, being broadcast in canada, paid in Canadian money, and I'm canadian. Insert country for canada and most of the time most people will be good. The carnet is paramount IMO. If you can get the visa or there's enough time then it won't hurt to have. I've travelled tons to many places and as long as you have a carnet it should be good. However, country dependant when concerning USA. They are pretty tough on outside freelancers. Sent from my iPad using Tapatalk

I was using my 788T on Defiance this year and post had a few glitches w the CF transfer of dailies. The files had come out sounding like someone was plugging a guitar into a live amp. We were in full shooting mode at the time and I had to check in the midst of the shooting day to isolate. The DMT said his 40 dollar card reader had done the checksum and believed him. I had then, unfairly concluded, that I had a corrupt card since the files on the 788 were exactly as recorded. ( I did have trouble reading it with my card reader via computer ) Sonic perfection of fans with a snow machine. . Ha anyway the hard drive saved me. It happened two more times and then started checking the other cards finding out that it wasn't the card after all but the lousy reader the DMT was using which he promptly replaced with a more high quality reader. Saying all this I would consider the 633 or the maxx to be more over the shoulder style recorders IMHO whereby I would probably still record wirelessly or whathaveyou to the camera. I think it hugely important to have a hard disk recording. Flash cards and especially SD cards are bound to be prone to occasional issues. In a digital world redundancy is just a proper business decision I think it more difficult to tell a producer that there was an issue with a 60 dollar card. Of course I'm speaking in a more cart based environment. Albeit I've been an SD user for sometime now and although there are some excellent features with the maxx, I like that sound devices has created two mediums to record simultaneously on. For a secondary or backup recording or in the bag in another country it would provide piece of mind. Sent from my iPad using Tapatalk

I agree with Jon on this one. The real issue lies in time being the enemy. I find FOH usually is heavy on the vocal end as the amps and percussion can sometimes be used more in a live sense vs what's coming out of the mains. 4 channels should do it for you for the live performances. Even just a wireless transmitter on the board for a mono feed with a selectable pad for each venue should be great for mixing into your stereo pair which will be the money IMHO for the music end of things.

Do you mind sharing that link with the board, on this thread, since you are so eager to police the forum?[/end troll] I think that is useful to cross reference. And I think I prefaced most of what I said with respect to the forum, but it seems as though if it were up to you this forum would turn into Wikipedia for sound which IMO would defeat the idea of a "forum". Conversation! Albeit redundant at points but without redundancy no new ideas might be shared. I am most appreciative of any persons time, even an Emmy winner in addition to NON Emmy winners on any forum as long as their ideas are insightful and are willing to share, regardless of your endless need to police. And to put it more clearly you are not a moderator!!! Thanks once again Jan for the info and Constantin for your insight. They have been invaluable to my ability to process my needs. Cheers! Paul