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S Harber

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Everything posted by S Harber

  1. What I did on my 8020 cart was to use 15-15 in general and then 15-30 for the axle. Cotter pins are used so that there is NO chance of a wheel nut unthreading. A bad lesson to be learned there unless you reverse thread one side like bike pedals. I used a simple 5/8" piece of solid steel for the axle which I then wrapped to snug it in tight in the top of the 2 holes in the 15-30. It's nice to be able to use the 2 holes vertically so you can adjust the height if need be. Hopefully the pic I zoomed in on shows some of what I'm referring to. Again, nuts on axles are a bad idea. Just sayin. SH IMG_9773.pdf IMG_D30947E031EE-1.pdf
  2. I have the 442 inputs roughed in to replicate the gains I start with on the wireless Booms to keep consistent gain structure. It can vary from there. We can almost always pull it off with a 100' stick of CAT5/Ethercon but we carry 300' total between the mixer cart and set rack. Here's some early pics from when I had the MM1 rather than the 442 when we were doing Bosch at the end of last year. IMG_8640.pdf 1479467755_IMG_93292.pdf
  3. This is a diagram for a rig I built last year with the A32 Ferrofish in an 8 RU SKB case. It's packed in with a 20aH battery and a 442 for hard lining mics if need be. The biggest trick was getting the USB over IP Silex 510 system to be bulletproof so I could feed the telemetry for the Venues back to my mixer cart. I've linked 400'+ of CAT 5 and it stayed stable overnight. That said, I've yet to need that long of a run. It keeps me off set and is much easier than running antenna cable and also puts TC and return feeds right on set. I use a Cisco SG 3000-10 switch on my mixer cart which dates back to PIX setups from my past. It works well and isn't maxing out the Netgear 5x switches I generally pepper around. Hope this diagram helps. SH Set Forward.numbers-Routing.pdf
  4. Hi Steve, I remote my Venues in a rack that goes to set and keeps me away from the density of the area around set. It also helps us not have to run antenna cable and has it's own battery and power supply. My Cantar has Dante and I can run the outputs of the receivers to a Ferrofish converter that makes the analog outs of the Venues into Dante which then cables back to my mix cart. The Dante runs seamlessly and we unplug it and rearrange it many times each day. I've managed to get the telemetry of the Venues to run in WirelessDesigner as well via a USB to IP converter which then goes to my laptop. The schematic is attached and there's plenty going on including power and a feed back to the rack for an IFB transmitter etc. SH Set Forward.numbers-Routing.pdf
  5. We did a bunch of gunplay last night on a shoot. We record dialog with a shotgun mic (PDA 4017) and wires then waste the boom off the person for gunshots and I bring up a dynamic mic. They actually both worked well but the swing in dynamics between words spoken (often whispered while actor not trying to let their opponent know their position) and the very loud guns shots, even with half or quarter loads, can be drastic. Doable and the first take is always a learning experience. That's how we do it here.
  6. So it all is working quite well. 18 wires on 3-Venues. A Ferrofish A32 interface (analog to Dante) The Ferrofish alone and then the 3-Venues on a USB hub feeding into the 2-USB inputs of the Silex 510. That outputs Cat5 into a switch along with Dante signal another from the Ferrofish. Sent to my mixer cart via Cat5/6/Ethercon That hits a switch One leg goes to a Cantar Another leg to a thunderbolt adaptor then into my laptop on High Sierra. Many links but no issues getting on to Wireless Designer from up to 300'+. Thanks for the help everyone. I'll post if anything noteworthy plays out. SH
  7. do you know if anyone has tried running Wireless Designer through one with success? Could be great if it works.
  8. I'm thinking about trying to send USB over a LAN via a switch that will be carried along with Dante. Maybe folks have experience with this and hopefully advice. Here's what I'm trying to achieve: (Set rack side) Lectro Venues feeding their USB outs into a USB hub That hub feeding into a USB to Ethernet/LAN adaptor That signal feeding into a switch that which would have a Dante signal as well. Into Ethercon/CAT6 cable. (Mixer side) Ethercon/CAT6 into another switch One leg outputs to Dante Another outputs to a Ethernet/LAN to USB adaptor (this hopefully could work for Wireless Designer) and then to a laptop. Or it could be carried (along with Dante via the switch) that goes to a Thunderbolt dock and into a laptop. A long shot but possibly very useful without having to buy multiple Lectro DSQDs. Any ideas, experiences or thoughts are welcome. Thanks in advance, SH
  9. I have an older iPhone that is part of my 788/CL wifi. That's all it does. And it lives in the front pouch. I replaced the battery for about $8. Easy.
  10. I am generally taking a feed from a video receiver that runs through a DA which I don't think does anything more than split signals evenly. 200' is actually about the most I'd put on it quite reliably (250' usually works but not like clockwork honestly) but I have definitely noticed that certain monitors I use work better with lower video signals. Oddly the best being the PIX 260/270 monitors I used to have when they were on my cart. Now I have some IKANs that are OK and when we do very long runs at times I will flip the patching around to have the more sensitive of the two get the weaker signal. Somewhat voodoo at times not unlike wireless concerns. The video/cat5 solutions are cool but seem to need a cat5 per video signal and are pricey. Or one could do the quad split insert then to the cat5 then to a big monitor on the mixer side but..... someday. Maybe there's an elegant solution out there.
  11. I can get 250' on normal cable/BNC and I have a various lengths of 2 pair for that. Video isn't part of that system.
  12. I've built a rig that has 3 Venues and a Ferrofish A32 adaptor that converts the analog to Dante. Now I run the audio back to my cart and also return an IFB signal, TC, speaker/VOG outputs, earwigs etc back to that rack. It hits a small patch panel. It lives in a 6 RU SKB case that has a LiFE battery and DC power supply. The rack is the footprint of an apple box when stood on edge which goes close to set. Now no (or very rarely) running antenna cables. I'll have 2 sets of IFB feeds (one set forward, one on the mix cart) that my receivers can tune to both freqs. Folks can now jam TC from set rather than the mix cart. None of this is mutually exclusive so it's not an either/or but both hubs, mix and rack forward system, work at the same time. It gets me away from set easier and Dante is great for situations like this. Perfect for Covid concerns. SH
  13. Agreed. Constantly hearing them latched on when not pressed in PTT mode. Seems like a bad component being used in the switch. I tend to move over to the 835S fairly often.
  14. The bands Howler and The Frights ring as present day surf where I'm from.
  15. I use 7506/V6 cans and have for years. That happened due it being the standard when I started. Much like ProTools and Michelin and Sennheiser, they were and are standardized accepted benchmarks. Not always the best but a standard. One can work for a long time with a standard and still get great results and notice differences if one is constantly using a standard. Definitely, there are better sounding headphones and places to go with that. For me, it's not always about using the best but rather knowing your tools and having a familiarity with it. When I get in a car I don't drive much, I first off notice things that are different than my car and may like it. But I will need some time to notice things that are off for that flavor of car. It takes a good while to get to the point where I would notice something amiss whereas I will pick it up quickly when driving my car/7506s. There's truly more decisions to be made in mic placement and wardrobe than there are in headphones in my world. There's a whole slew of factors in play with selection but for me, I still use and quite like my daily 7506s.
  16. They hold TC quite well when turned off for a good long time ie. all day. As long as there is a battery connected. The concern is when there is no battery connected. That's when you will lose TC sync. I personally jam the boxes then make the AC's act like adults and own their responsibility for THEIR gear. They should know how to jam the cameras and deal with frame rate changes and the like. End of story.
  17. Crickets. This forum.........
  18. Anyone out there on an Amazon show getting daily rate rather than weekly? I'm heading into some negotiations and I've been told Amazon will NOT allow daily. I'm having a hard time believing that but have yet to hear otherwise from anyone. I'd love to be able to negotiate upwards and am wondering where folks are in negotiating on shorter series. Thanks from me and my crew. SH
  19. I announce towards the end of the shooting day via Comtek that we would appreciate that they return them to a sound person on set. It seems to help them come back. Sign outs never seem to work as many who take Comteks see themselves as above doing something as low as writing their name on a list. A couple of those and it defeats the whole purpose and we rarely have someone just there to run a sign out sheet. SH
  20. Well blood and body tissue is roughly as dense as salt water which is denser than fresh water. Thus...... (your conclusion here)_____________. and then some people are just dense.
  21. To me the biggest aspect of any argument of gear L&D has always revolved around the fact that we hand out our gear to other constantly. Be it Comteks, Wireless mics (that get pulled off by the head), Slates, TC boxes, or the like. These are the items that tend to get trashed oddly enough. These items are patently out of your control. The UPM would surely not be OK with you using their laptop for a season and hoping that it came back in perfect order. There's a line that gets crossed wherein you have to fix or buy a replacement. It's part of business and they have a line in their Excel for this. It's how the pros do it. Otherwise you will be driven to put crappy gear out. Part of this equation is your integrity and how you treat the show and the like. Calling out "Village Idiots" and the like may point to how you are on set btw. that may not help.
  22. The joys of America's 2nd Amendment. Police running around not sure who packing guns or not. Horrible things like this are not too unusual. Sad. I've done ride alongs with police many years ago. Chasing armed assailants and been shot at and pressed up against a building as shots were going out of the window next to me. Shots, adrenaline, mayhem, radio frenzy. About the worst scenario possible for something productive to happen. Stay away folks. There's other work to do. Hopefully.
  23. S Harber

    Tumbleweeds

    An invasive weed attributed as "Russian Thistle" that didn't exist here in the US prior to the civil war?
  24. I pass out between 10-20 sets of Comteks per day working 150-200 days per year. Whatever you pass out will get trashed no matter what you say when they go out. There is always L&D to them and it happens often with folks taking them away or dropping them or .... When I put in an L&D quote for a Comtek it comes in at about half the price of an iFB. Producers definitely have looked at me sideways when I've submitted quotes for IFBs versus Comteks as they know what a Comtek costs as it's a common item of L&D on all levels of production. I've also had production folks act as if that I'm trying to put one over on them when I've done so on the IFB version of replacing said item. The IFBs are definitely better sounding. Not perfect but all things considered. I use Comteks. And let's not even get into battery life and the like and either having to go the Lithium route or change batteries after searching the IFB units down.
  25. Alexas are 5 pin. Only the wonderlcks at Red wandered into the no man's land of 4 pin Lemo AFAIK.
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