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danelonsdale

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About danelonsdale

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  • Location
    NYC
  • About
    Sound mixer. Brooklyn based.
  • Interested in Sound for Picture
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  1. I’ll expand for the folks at Lectro. The small footprint is a nice upgrade. Wideband also nice. Unless they can go a full day without changing batteries they’re not a competitor to comtek. I don’t want to use lithium’s in r1a’s so that’s a no go as well. Rechargeable’s in r1a’s you’d have to swap at lunch. I am looking for a full day on a rechargeable battery. If you made a slightly larger version that fit two LB-50 I’d be interested! Give me a reason to shift from comtek!
  2. Nice new wideband unit from Lectro. 8 hour run time on LB-50. Won’t run all day on a single batt. Can’t use them for clients/village/producers.
  3. Always run a backup recorder. Even in the bag, even if it's 16bit, or even compressed. So you have at least something.
  4. I have an IFB200 and bst 75 in the bag and it is whine-free. The two units are very close to each other and both sound great. Cannot say the same about the m-216.
  5. I've got one for sale. Basically brand new. Email me at danelonsdale@gmail.com if you'd like to buy it Dane
  6. I too am waiting for the SM style Wideband gear to make the switch, Larry. SSMs are cool, but not having the 250mw or even 100mw in your back pocket in a jam makes it tough. Agreed, LTs are just too big in this day and age.
  7. Yes this would be perfect!!
  8. The idea of running an internal cable inside the pole and all the way thru to the mixer seems like it would be great. You may just want to come up with a way to fasten a loop or two of the cable to the opening of the rear of the pole to beat the noise of the coiled cable sliding in and out of the back of the pole. Ideally I suppose you'd have the same amount of coiled cable inside the pole as the original ktek had to maintain the ability to fully extend and fully collapse.
  9. I definitely wouldn't trust the display on the epic to be up to speed. I know when the camera is outputting greater than 4k there is a delay on the actual video signal output so who knows what is going on with the onboard display. The same way you shouldn't use the display on a 788T to test true timecode, I wouldn't use the epics. The best thing to do is have the DIT or downloader take a look at the slate from the downloaded footage and check the embedded with the slate in picture. (or have post do it if you can't)
  10. Many VTR ops using Qtake these days can stream video through a Wifi plugin that allows anyone to connect to their system via iPhone or iPad etc. Perfect for a reference frame while booming.
  11. Yes, it goes without saying you should watch the modulation from the venue or 411 etc and adjust accordingly. I tend to start at 25 and go from there.
  12. I tend to live around 25 on the HM with a CMIT for normal level dialogue.
  13. It is their job, but it also sometimes falls in our laps as well. Especially considering every shoot has different manpower and a different workflow. Nobody likes to point fingers after a mistake happens! It's best just to nip it in the bud and let the box ride.
  14. Glenn, Thanks for addressing this issue. I have also noticed this issue with multiple Alexas. Specifically, with the ERX2TCD riding the camera at 23.97ND, "incompatible frame rate" error in the information window (while in pro res 4444 and 422 formats), and "break in timecode" error (while shooting arri raw with Alexa XT). I've never seen this issue using Denecke SB-3's on these cams.
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