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Movies by Matt

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Everything posted by Movies by Matt

  1. Movies by Matt

    What case to get next

    Pelican Air 1615 though not as sturdy, has worked for me for a couple years so far. That being said I do keep my 688 kit in a 1650 and yes, it's heavy. Though I have a tip, the much older 1650's that have the significantly larger horizontal carry handle are better as you can use two hands easily. And there's a generation or two of 1650's (could even be the current one) that don't sit flat when you set it down (if you were carrying it horizontally, like a suitcase). This is annoying to say the least. Deal breaker in my opinion. Look on Craigslist in Chicago. They'll pop up at some point.
  2. Movies by Matt

    What you you recommend to power the MixPre 3

    Mr. Bamboozled- I often run my mix pre 6 on camera and have a few ideas for you: 1. Get a camera cage and mount the mix pre d on the side of the camera rather than underneath. It'd be sweet if the MP series screen orientated accordingly but it does not. 2. I have most the available powering options and of course it ultimately it depends on your setup but I've found that the Sound Devices L Mount used in combo with Sony NP-F570 (which I believe is discontinued but you can still find some if you look) lends the lowest profile. Another option if you power the camera externally using either V-Mount or Gold Mount batteries is to get the Hawkwoods Hirose power and just get a D-Tap to Hirose cable and power it. The AA's are low profile too but ultimately I end up swapping batteries too much using that powering method.
  3. Movies by Matt

    Smart Slate Preference

    Looks great. Thanks for the demo. Definitely have my eye on the betso gear.
  4. Movies by Matt

    Smart Slate Preference

    I haven't personally tested it but I believe the Betso Slate WTCS-1 can display chosen fields of metadata which can be entered via the Movie Slate app.
  5. Movies by Matt

    Zoom F8n.

    Mr. IronFilm- If Zoom doesn't hire you in some capacity they're fools. You're the #1 brand ambassador for them and a respected member of several communities. Seriously though, after all you've written in support for Zoom, the absolute least they should do is give you a Zoom F8n, if only cause you'd educate everyone about that product. Zoom, are you paying attention?!? Don't lose Mr. IronFilm to the competition. I bet he's solely responsible for at least 50 sales of your products due to the consistent feedback he gives about the F8.
  6. Movies by Matt

    Sound Devices recorders - which way to go?

    664 is completely analog. 633 & 688 are not.
  7. Blackmagic Design Video Assist works fine. I trigger the Mix Pre 6 from a Canon 1DC through the Video Assist and the 1DC won't trigger the MP6 directly. I wish the 10t would hold timecode from an HDMI signal even after it is disconnected. I think I saw somewhere it couldn't. Please correct me if I'm wrong.
  8. Movies by Matt

    Sound Devices Approved Media for 633 - SanDisk question

    When the 664 came out there was an approved media list with a San Disk Ultra 64gb SD card on it. After awhile the card was removed from the approved list. I only bring this up because I'm assuming they tested the card rigerously prior to approval but then several months later had to delist it after some issues arose. So even after the testing you've done, I'd still be weary. That being said, I believe Scott Farr (he posted it on JW a few years back) was using unapproved Lexar media without issue, so it can happen. Good luck. Keep us posted. PS. The other part I'm curious about is why not just use the 64gb approved cards? According to SD's audio calculator you'd get over 8 hours 24/48 wav files when recording 16 tracks on a 64.
  9. Movies by Matt

    Prototype BEC bracket for F55 Documentary Dock

    They already make a plate that does that, it's The BEC Group Under Camera Mount #1. https://www.adorama.com/becbotplt1.html I've also had some custom work done by Mr. Babcock. Always excellent results.
  10. Movies by Matt

    NEW: Audio Ltd - DDX1010

    I'm talking about the American market. That's why I said "US A10", US meaning United States but I can understand that not being clear if you're not from here. Too many acronyms to keep up with these days. I'm going to email Audio Ltd. and see if I can get some files to play with and compare a transmitter recorded file to a mixer recorded file. ill report back if I hear anything...poor pun intended.
  11. Movies by Matt

    NEW: Audio Ltd - DDX1010

    This is where the old system stood. I'm sure with the recent distribution partnership, this will improve. On another note I was reading some Audio Ltd. literature and it seems the US A10 can record or transmit but not simultaneously, similar to the new lectro models. The A10 records to Audio Ltd.'s proprietary compressed format. I wish they would provide sample files for download. Ideally the same file recorded at the transmitter level and one through a SD 688/SL-6 kit so we could compare.
  12. Movies by Matt

    NEW SMWB and SMDWB Lectrosonic units Announced..

    @IronFilm, don't know about all this negativity toward Zaxcom. Mr Sanders is an entrepreneur and deserves the fruits of his labor, intelligence and foresight. Besides, you live in New Zealand, why do you care so much, it really has no effect on you unless you're married to using lectrosonics (which is understandable)? When people are talking about Audio Ltd, the products aren't infringing on Zaxcom patents unless sold in USA, so the idea that they didn't include a feature like HP O/P because of a patent in one country seems like a stretch to me. For the record, I'm a lectro user, and I want the simultaneous recording transmission feature too. Sorry to derail the thread. Looks like a great product from lectro.
  13. Why not get one of SD's Mix Pre-3/6's? Very lightweight. It can use the same L series batteries your 744 does or Hawkwoods just came out with the SD-1 which provides a hirose power input for standard NP-1/BDS setup.
  14. Movies by Matt

    Sound Devices & Audio Ltd

    Funny I was just about to post this in the A10 thread as I was hoping for better compatibility between the companies, well I guess I don't have to worry about that anymore....and as far as speculating on products, as camera systems become more modular, I wonder if SD starts producing modules for the cameras with wireless integration? I was just talking to Dennis at SD today about hoping they'd make a more advanced version of lectros pdr. He didn't say anything. Will be an interesting NAB in 18 for SD. I'm all in.
  15. Movies by Matt

    Lectrosonics SMWB coming soon?

    After a brief skimming of the manual I'm curious if there's timecode integration in the recorder portion. The manual doesn't say anything about it. I was hoping there was a licensing agreement between Lectro and Zaxcom, but obviously not. Unfortunate. Still looks like a sweet device. I wonder if the overseas versions can record and transmit? Could be firmware activated like the Audio Ltd A10 or 1010 transmitters.
  16. Movies by Matt

    Sound Devices Mix Pre-3 and Mix Pre-6

    Updated firmware available. https://www.sounddevices.com/support/downloads/mixpres-firmware
  17. Movies by Matt

    Update on the upcoming Tentacle Sync-E

    Mozegear Tig's can do scratch and timecode out of threaded 1/8" connectors. I'm not up on all their models but most, if not all, have a mic input.
  18. Movies by Matt

    NEW: Audio Ltd - DDX1010

    I wonder where integration with SD's SL-6 stands? Last I checked it lagged behind some of the competitors for features available through the 688. That being said, I was checking because if/when I upgrade my wireless, this is what I'm aiming at. Sadly, all the FCC auctions have tempered my desire to spend a $ on wireless, even with these wideband options.
  19. Movies by Matt

    Traveling With Cart Overseas

    I've personally been eying some of the DIY pelican case setups I've seen on here. I think there in the section of photos of sound carts, or the DIY section, one of the two.
  20. Movies by Matt

    MixPre-6 – worth it for this beginner?

    This forum is great for the experience and knowledge that the community members have. There is no doubt that many of you are at the peak of this profession and the fact that users can get access to that knowledge is appreciated and valued. Many people are striving to get where you are. Along the way, there are jobs and workflows that are less than ideal for a multitude of reasons. Adaptability is the key for survival (not to get too Darwinian). Believe it or not there are jobs out there where the audio person is running a camera too, as appalling of a thought as that may be. The audio might even be mounted to the camera in some fashion, which is exactly what SD markets the mix pre as. Have I ever mounted my 688 to any camera set up? No. I'm curious Mr. Deakin, how much velcro would it take to mount my 688 to a camera? Where is the best spot? Enlighten me, please. Not only have I mounted the mix pre d to my cameras for years, I even modified the XL-Cam bracket to Arri 3/8" (with registration pins), and I mount my lectro SRa wireless receivers to it, without a touch of Velcro anywhere, using BEC cases (shout out to Mike at BEC for all the custom work). But Chris is right when he says the downside is the camera's internal recorder. The bottom line is, is this a slightly different tool than a "working location dialog mixer-recordist" may want? Yes. But is the OP a "working location dialog mixer-recordist" or is he a beginner, as he himself points out in the title of the thread? He's a beginner. Along the path to the mountain top he may need to work jobs with other people who are on a similar level. I'd bet that 75% of the jobs the OP gets in the next 2 years will be with a camera that doesn't have timecode I/O, except for HDMI/SDI video feeds. In that scenario, at least the MixPre series presents an option to sync files that my 688 does not or any of the other "pro gear" for that matter. For the other 25% I'd recommend renting a 6 or 7 series, ideally from a local, who sees you hustling, and hires you to help him/her. Then you've set up a mentoring situation for your rental $ and that's a greater return on investment than the gear itself. Which is why many of us are on this forum to begin with. To learn. But when the OP has a sub $500 machine and is trying to buy a sub $1000 machine and the recommendations are to spend $3000+, well...i'll let you all decide whether it's realistic advice or not. My final note (damn I'm regretting posting) if you guys can't wrap your brain around why some of those features I listed are useful, I will illustrate (and no, it doesn't include carting around a laptop in your location sound bag. Ugh, really?!? This is about getting rid of the location sound bag on many jobs.) Interviews, the backbone of many working sound and camera people. For years I've worked a job for NAB (even ran into the Senator once, my all time favorite forum member who gave me a flashlight with "it depends" on it) called Backstage Conversations. This is often a 2 man crew with lights, 2 cameras and a 633 kit. I'd much rather use a mix pre 6. Then I don't have to worry about clicking record on the 633 as the MP3/6 is being triggered by the camera instead (and don't get me started on the 6 series record button). On small sets where multi tasking is essential, one less task is greatly valued (Canon DPAF, Dugan automix, mix assist, etc.). As far as long cable runs, that's the part many of you are missing, the cables are a few inches long, running directly to/from camera to the MP3/6 which is mounted beneath or on the side of the camera. So for this type of job, if you wanted to hand off timecode matched files to a client, just the weight savings alone is worth using the MP3/6 cause all the cameras that do have legit I/O are heavier than the ones that don't. Couple that with the extra weight of the 633/688 and all the batteries for both devices, well then the MP3/6 setup will not only save some time but will allow you to pack a much smaller setup and to move much quicker for those "fast moving shoots" I keep hearing about. There will always be those that feel it's best to send Goliath into The Valley of Elah.
  21. Movies by Matt

    MixPre-6 – worth it for this beginner?

    1. Input timecode from my Canon 1DC and various other cameras that only output timecode via HDMI. 2. Trigger record from many cameras. 3. Screw onto my camera cage. 4. USB interface for computers. 5. Wingman app (compared to 7 series)
  22. Movies by Matt

    MixPre-6 – worth it for this beginner?

    Along the lines of the 788, why not look at the other 7 series recorders? I've seen 702T's for under $1000 and 744T's for under $1500. I'm unsure of the 7 series metadata entry compared to SD's more modern offerings. I have a mix pre 6 and love the device for the jobs it's good at (specifically dslr audio on a one man band shoot). The mix Pre 6 does things your 6 or 7 series recorders can't do. I don't think it's a one or the other scenario. Another option is to pick up a used Mix Pre D and use it in front of your 70D. Often, on lower budget shoots they're only using camera audio anyway, the Mix Pre D is a versitale mixer with tons of output options and if/when you grow out of it you can give it to your boom op to use or mount on cameras that don't have XLR inputs. All that being said, the Mix Pre-3/6 has been so popular that it's depressed the used markets of all the devices I mentioned above. It's a great time to buy a used SD product because of that. One last note on the timecode of the mix pre-3/6, if you're actually on a shoot where the camera can accept timecode, well then it can output timecode too (or most can) and if you got a device like a mozegear TIG, you could jam the mix pre-3/6 and have matching timecode (though you'd need to check often for accuracy, even if batteries haven't been changed or devices powered down). That being said, it certainly seems like the low budget crowd loves to use plural eyes these days. I'd also wager that the majority of shoots that a beginner finds themselves on, the cameras don't have timecode I/O. Even the popular FS7 needs an extension, the new Canon C200 does not, none of the DSLR's, etc, but the majority of those cameras do output timecode over HDMI and in that scenario the Mix Pre 3/6 offers timecode options that can't be matched by any of the more "professional" recorders. Good luck, matt
  23. Movies by Matt

    Sound Devices Mix Pre-3 and Mix Pre-6

    So after some testing, I can now reliably trigger record the Mix Pre-6 from both a Canon 1DC & a Canon C500. Sadly, it is not a direct connection. I will share specifics of the setup when I have time to go into greater detail. I know I mentioned the Gratical before, it doesn't work for this purpose. Wishing for several years that a manufacturer (SD/VD Hello) would make a 1080 EVF with built in proxy recorder, HDMI & SDI ins and outs, with cross conversion and full timecode capabilities (more important feature than proxy recording) via those outputs and inputs. Is that too much to ask?!? I know it's possible. The tech has been available for some time, just in different products from various manufacturers...and now, back to our regularly scheduled programming.
  24. Movies by Matt

    Sound Devices Mix Pre-3 and Mix Pre-6

    Just picked up a Mix Pre 6 for my "toy" camera, a Canon 1DC. Love small footprint filmmaking, especially if you haul the gear on your back. Mix Pre-6 really solves the audio/timecode conundrum for DSLR's. Though SD doesn't specify the 1DC as being compatible with the Mix Pre 6, I can report that the timecode is read via HDMI but the record triggers don't work accurately (expected outcome). My 3 design complaints are: 1. The HDMI input and stereo output aren't on the same side of the Mix Pre 6. On the majority of cameras this will be used with, the two compatible ports will be right next to each other. Had they been next to each other on the MP6 it would've made for clean cabling. 2. Speaking of cabling, wish the 1/8" inputs and outputs had threaded connectors similar to the mix pre-d. 3. For mounting options, I wish it had a 3/8" screw option. I know there's adapters and I might customize something. But this is targeted (amongst others) at a higher end DSLR shooter. A large portion of those camera people have cages and can mount gear to them. Those cages have 1/4-20 & 3/8" holes. The best, I've found, is the Arri 3/8" with registration pins. Ideally the camera is as close to the tripod as possible and I find it better to mount the audio input to the cage rather than underneath the camera. Though I do find your current 1/4-20 to snugly hold to the cage. At times the Mix Pre D would move a bit under similar circumstances. The other issue I see encountering (and I know this is specific to my style and not really a mix pre 6 issue) is that if you shoot handheld, you need a device like the Zacuto gratical to balance the camera rig and view your image. If those devices do not pass HDMI timecode through, then you've lost your timecode connection (at least via HDMI, which would be most accurate for camera timecode.) That's it for now. A great thank you for this device. I own a 688 and a Mix Pre D, and neither are perfect for how I want to work. This one really slots into a sweet spot of weight vs. capability.
  25. Movies by Matt

    Pelican transport case

    Ah, in the spirit of JW and The Senator, "it depends". (Damn, that's fun for forum folk.) What do you mean by "a lot more gear"? I like the Pelican Air 1615 which is similar to the Pelican 1650. That being said I've been scanning the DIY Pelican carts on this site to come up with a more advanced solution.