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franky03
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Everything posted by franky03
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+1 for the BNC (maybe make the i/o user selectable?) When you clap, is it holding the TC for a few frames? Good luck! Franky
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Hi Aginzo, PSC makes a hpf in a xlr barrel, maybe that would help? http://www.bhphotovideo.com/c/product/275824-REG/PSC_FPSC0010F_AHPF_High_Pass_Filter.html Cuts the low end starting @ 140hz... Franky
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I just noticed some strange noises coming from input 1 of my Maxx. When I play with the trim, there is an electronic noise (go here to see/hear: http://siaudio.ca/maxx/ ). It is low level but it is there and it is annoying... No other channel does that on my Maxx and it doesn't matter if the setting is mic or line or if i have something plugged in or not... Anyone else has this? I emailed Glenn but he must be busy... Thanks, Franky
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Yes it is visible... Franky03
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Personally I use 6dB of attenuation in most circumstances and Im very satisfied and find it a good compromise. I do post (which is my forte) on almost all the projects I'm involved in and I can tell you that since Protools 10 is, gain is much less of an issue compared to before PT10 because Avid/Digidesign finally gave us of "clip gain" (36dB of clip gain to be exact) after 10 years of complaints, mostly from post guys... so bringing up the level while editing is now very easy and painless. As for video editors, well I don't know any who are not used to doing some sort of premix, they have to adjust at least roughly the levels just for comprehension sake, but it has to be said that Media Composer gives only 12dB of clip gain... so if your isos are set to -24dB maybe there you will have some bad feedbacks from the edit suite... My 0.02$ Franky03
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Oui mais il a bien spécifié de la faire dans l'endroit approprié... Enfin cest pas plus mal, bienvenue à toi Envoie moi un mesage en privé et je tacherai de répondre à tes questions...
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Unless you have really big fingers you can still get to the release tabs pretty easily... My 0.02$ Franky
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Do you have the latest firmware? Never had any problems importing files... Franky
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You're right Senator... they would definitely know it is a scratch track! But specs aside (they dont tell the whole story) I would describe the sound of this device as boomy and muffled... especially compared to the G3 I was running at the same time... Franky
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Today I tested briefly the Williams Sound 2.4ghz Digi-Wave Tour guide system (sorry for the b&h link): http://www.bhphotovideo.com/c/product/745321-REG/Williams_Sound_DWS_TGS_10_DWS_TGS_10_Digi_Wave.html The tx and rx are pretty slick and very small Although the rx have no antennae, the range was nice, about the same as my Comtek 72 if not a little better. The sound is ok, not great (slightly muffled, the specs state 150hz-11khz), not good enough for a scratch track. The biggest downside I found was the latency. Its not that big (I would say about 5ms) but I found it distracting when you are near the original source and can hear both. Not sure I can live with that. All in all an informative test, and a free one at that I still think the Anchor Audio would be better for me (especially since they also have a base station to provide wider range)... but to test those I have to buy them, arghhh... Franky
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Interesting :-) Reading this, i coulndt help but think that you are the Sheldon Cooper of this forum Franky
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To get slightly better results going from 216 to 682 is unreasonable? To get slightly better results going from 1/4 wave to 1/2 wave is unreasonable? Hmmm, maybe i should ask the actors to shout instead so that the director/script/clients hear them! Lol Franky
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Thanks Senator No unreasonable expectations here. I mostly do bag stuff and this summer half my shoots were in a typical suburban house. My 72s are so so in that scenario so i usually rent 216 and they do better... Hence my question... A nice thing about the Anchor audio tx is the replaceable antenna, is going to a longer (I guess1/2 wave) antenna a good idea? Franky
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The antenna is removable. They do make 100mw base tx. Good point about the extras... Specific question: which group of frequencies go trhu walls better? My old comtek 72 arent very good at that... Franky
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The comtek 216 system as far as i know is the most widely used on sets... And it is 10mw... What are you using? Franky The comtek 216 system as far as i know is the most widely used on sets... And it is 10mw... What are you using? Franky
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Dear wise JWers, Can someone please explain if there is a noticeable difference in range when using 216mhz vs 682mhz? Im guessing the higher the better... but thats the theory.. I did do some reading: http://www.audio-technica.com/cms/site/af9d127e26abf498/ But if anyone can chime in I would appreciate... Im looking into alternatives to the Comtek system (I like them and usually rent them... but $$$). Pretty much every other manufacturer offers 10mw transmitters over varying frequencies and 300' feet range line of sight... but there must be differences in "real life" scenarios (I know, I know, you get what you pay for). Still, these look interesting, stylish and possibly a replaceable longer antenna for the tx (sorry for the b&h link): http://www.bhphotovideo.com/c/product/492031-REG/Anchor_Audio_TOUR_60_TOUR_60_6_User_Wireless.html Now 682-698mhz are in the tv channels here in Canada but this system has some flexibility and using the Shure frequency finder it would seem i would be ok Uncharted territory I know... Good value? Or too much trouble? Thanks, Franky
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Thank you for enlighting me with your knowledge... I thank you and i am grateful. Will do my research starting from that Franky
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So what did you guys use before all those wireless tc boxes?
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Thanks for the cues Jack
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Hey Jack, Yep, same tc settings... I guess i have to test some wireless solutions... Thanks, Franky
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A bit OT: Ive been having a hard time jammin tc to my Maxx :-/ Not doing the jammin, but staying in sync. I know most of you guys are sending or receiving tc via wireless but shouldnt I expect tc to stay in sync for at least a couple of hours with a jam? Wednesday shooting with c300 (master clock) in 23.976. the tc drifted almost 1/2s within the morning. Rejammed after lunch, drifted about the same in the afternoon. Friday shooting with 2 Sony Hd cams (cant remember the model, cheap basic eng cams) jammed to cam A (master clock) at the beginning of the shoot and tc drifted way more this time. I set my Maxx to 29.97df. Maybe thats my wrong doing right there... But when i got the maxx i tested with a sony deck and it was pretty solid and was staying in sync. Now on both shoots tc is no biggie has on the first one (advertising shoot) i placed a mic on cam so we could sync with pluraleyes and on the second shoot (run and gun) i had their sony wireless (slot in) as a hop. So its all good... Except i would like timecode to be as solid as possible anyway as a safety. Please excuse me for the long post but if anyone has tips and tricks it would be very much appreciated Franky
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Need more details... What trim setting are you using? Line? Mic? H? What are you recording? With what mic? As for the hum, have you played back you recording on a good playback system? Is it still there? I wouldnt make too much of it, especially if your headphone level is at maximum... My 0.02$ Franky
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Thank you Glenn! Can the people who asked for it please explain why they would need post fader isos? Just curious... Glenn: is the neverclip feature disabled in a post fader iso? Thanks, Franky
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Again, having the latest version (6.17) will be your best bet... Franky
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Understood Wandering Ear... Anyhow, Maxx doesn't have that feature (yet?)... so I guess the only way to have a mp3 file in my situation (not that I have been asked one yet) would be to record on an external recorder. Gotta be ready for anything! Question: who needs a mp3 and why? Im guessing it might be handy to a director for interview cutting... Thanks in advance for the answers... Franky
