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Mark LeBlanc

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Everything posted by Mark LeBlanc

  1. I use a device called the iUSBPort. It creates an adhock wireless network that connects to my ipad. You connect a usb CF card reader to the device then download the csv to ipad which I open/ import into Movieslate app. Generates wonderful reports which I email to production at the end of the day.. I purchased the iUSBPort on Amazon for around 85 dollars..
  2. Even at that price it has appeal. more inputs and track count are nice. pair this with a new control surface and like Robert said. time to hit the Lotto!
  3. Picture Fever.... Happens every time.. All the talk about wanting good sound flies out the window the minute the first image comes up on the monitors.. BTW.... I hate the Red Epic...
  4. Bluetooth does live in the 2.4ghz range, but since the 1.2 spec uses Apaptive frequency scanning to find a clear channel. Setting the CL-WIFi to a high channel above say 10 never worked well. I keep mine low between 1-3 which gets whacked when thr 1st AC I work with brings out his wireless transmitter and sprays all over the low bands.
  5. +1 for Meters also!! CL-WiFi might not be super accurate, but close enough to give you a general idea! The fact that this runs Bluetooth is exciting. Remote Focus pull, Camera AC's using low cost HDMI wireless for their focus pulling stations.. The 2.4 band is getting very very crowded on most of the set's I work on..
  6. You could pair it with a Cooper 208 digital out which I believe is AES. You can use the PSC Solice to the Analog input, sadly the 970 AD convert tops out at 114db headroom not 120+ Like the 788. From any analog mixer you could park a Focurite Red-1 (8 channel) or Red-2 (16 Channel) AD converter with Dante outputs. Converters goto 120db. The main question should be how much would you be willing to pay for a proper DC powered mixer to sit in front of this? If the CL-9 was 2k and was only a control surface. Would you be willing to pay 8-9k for a mixer to do the job? Most of the Yamaha 01 appeal is its cheap and available. The 01 does no eliciate the same sonic passion as Cooper or Sonosax owners proclaim, but are you willing to drop some serious cash on a proper purpose built mixer?
  7. Very very busy.. Seems like Sound Devices has punted to Ambient on any further CL-WiFi development..
  8. Picked up one last week with the Standard Scan plus wifi. The WiFi scan was money helping find a clear channel for the CL-WiFi. New B camera guy shows up with his remote focus pull and sprayed all over default CL channels...Combine that with the Sound Stages in house WiFi and the RF explorer saved lots of headaches!
  9. Safe bet to ride the timecode box on the camera. Still doesn't guarantee sync. Two factors I've seen cause Red sync issues 1. Camera in hot environment 2. Shooting long takes in 5k My next Red shoot I plan to use the Mozegear Tig to feed BNC timecode to the lemo input and audio timecode to track 1. This way if the Reds internal timecode brain farts, they can use the linear timecode track as sync reference.. In Avid it's super easy..
  10. Six month update.. I've used the Tenergy 9v fairly constantly since purchasing in August. The show I'm on now has seen 1/2 the batteries fail. Issue popped up when after a days use and charge would discharge within seconds of turning the Comtek on. All told 1/2 the original purchased batteries are dead. On the bright side, the charger is great.. I've used it with a few iPower 9v with a few other China branded 9v and works great. The tenergy case is not very sturdy and started flaking apart with normal use. When they were new the Tenergy worked well, just not sure they have the construction to withstand daily use on set...
  11. I visited the Presonus home office in Baton Rouge. The StudioLive AI series mixers look promising. The Preamp dynamic range is 8db better than the Yamaha coming in at 118db vs 110db for the Yamaha. A Dante expansion card is planed, but won't be ready when the unit ships. 16 channel model comes in at 23 lbs. It's a powerhog, with a 200w power requirement. Hoping to field test one sometime early in the new year...
  12. The Workflow depends on your editor software.. Currently, Media Composer is the only NLE with built in Read Audio Timecode feature. It stamps the timecode to the AUX TC1 track. You select the Audio track and copy the TC stamp to AuxTC1. Select the two files and do an AutoSync via AuxTC1.. Premier, FCP7 and Lightworks require this http://www.videotoolshed.com/product/26/auxtc-reader Reads the timecode and timestamps the original quicktime file which then allows you to sync FCPX doesn't handle TC very well.. I contacted the developer and requested if he could run the function on raw R3D files. He's looking into it.. This would be a potential lovely fix for the Epic Timecode issues I've encountered this past year..
  13. Greetings all, This past year, I've encountered nothing but trouble when using the Red Epic. The issue is even when you have a timecode generator feeding timecode to the camera, it will sometimes stamp the incorrect value. It's very inconsistent, sometimes its 4 frames behind audio, sometimes 2 frames in front.. Very frustrating all around. When the issue crops up, they want me to send a scratch track, which many times is not practical because of distance between cart and camera.. Here's where the TIG fits.. It has the ability to send timecode out the BNC at the same time as Audio Timecode out the 3.5 connector.. Got to test it today with the EPIC.. This will be a lifesaver!! In addition to timecode into the EIPC the standard way, I can send timecode to the Audio Input with no adapters, just a straight 3.5 little cable OR send timecode and a scratch track(If desired). Giving the editor 3 options to sync if needed.. Today's test was simple. Jam the TIG and Slate to 702. Connect the TiG to the EPIC via BNC tc and Audio.. Point the EPIC at the slate and roll. I transcoded the File in RedCine and opened in Media Composer 6.5. I was able to sync the Audio to Video both the normal embedded timecode method and read audio timecode. Solid Either way.. The TIG is so small, it will easy to mount and keep out the way. My camera buddy noticed how small and light the unit was.. I included a few pics of what it looks like with the Epic. I know some mounting options are being talked about, hopefully something that can easily mount to the cheese plate on the side of the camera..On my last Epic show, it seemed the hotter the camera got, the worse the timecode errors became. The audio TC track will really help the editor out.. Can't wait to put this guy to work the next epic show!! No scratch track for me!! Mark L
  14. Contact Senn Support. In June, I sent my 8060 in. It made a round trip to Germany and was basically replaced. The replacement hasn't shown any static or paint issues since returning a few months back.. Fingers crossed.. One other change was switching to the Nautilus mount
  15. Greetings all, Attached a few pics of the TIG mounted on a Canon 5D with a DIY hotshoe adapter. This was the first time i was able to try out the FlowThru audio feature and it works great!!. I feed a wireless scratch track from my 664 via Senn G2.. You take the output of the G2 and feed into the Audio In of the TIG, then the Timecode out to the Camera. This carries both the scratch track and timecode track. The TIG/G2 combo is pretty light and my camera guy friend had no issues with holding it.. There was not timecode bleed into the audio track and both Media Composer and LTC convert programs read the timecode track. The TIG's timecode is rock solid. I used a beta version a few months back and proved excellent reliability and accuracy..I had it on one camera and a Denecke on a second camera and had no issues.. Can also report 14 1/2 hrs of run time using the PowerX AAA rechargeable batteries.. The TIG is a welcome addition to my kit. Camera guys will like the compact size and on those run and gun shoots who's post production can read audio timecode this will make syncing those crazy days when no one does any kind of clap syncing a breeze. Now, if only FCPX can get Aux Timecode back!! Mark L
  16. Jim, I tested a Pre production model and found the timing to be rock solid. I ran it side by side my my Denecke using them on Red Epics. No trouble beyond the normal drama associated with using Reds..haven't had a chance to use it on a DSLR shoot. A solid piece of gear! Mark L
  17. Mike, Second that sentiment.. Received my 664 at lunch on day 2 of a show. Immediately went out into the Louisiana swamps after lunch and spent the next week with it on boats accompanied by bugs.. Rock solid and love how power efficient it is.. Not having to pull my 788t off the cart now is very nice!!
  18. Jeff, My workflow is all Sound Devices and moving from a 702 to 644 this week..With the 702 I record to a separate CF card with the roll number being the name of the folder I'm recording into.. I try and match file naming schemes as close as possible which I name my files the scene name "01A-01.wav". At the end of the grab and go I pop the CF card into my External CF card reader and copy those files to my Internal CF and Internal Hard Drive.. When I create the Sound Report at the end of the day, all files from both recorders are in the report and on a single CF card that's handed to the DIT.. I'm looking forward to having a Multitrack grab and go rig and looked really hard at the Nomad but CF card/Name structure similarities between the 788/664 was one of the deciding factors for me... Really hope Jan can comment on her SD Cart / Zaxcom Grab and go setup.... ML
  19. Another affordable mixer with Dante as option card. http://www.presonus.com/products/StudioLive-AI-Series/features
  20. Nice! Can it run off cart power? Also, Philip, check your inbox. Sent you a Pm earlier..
  21. John, After reading various forums the 8060 seems the have the most issues. It's some kind of grounding issue inside the mic that pops up and nothing can be done but send in for repair. I've read of mics having made 3-4 trips back to the factory for repair. After speaking to CS, it sounds like the issue is resolved. In my case, a 6 month old mic used with the proper Rycote mount had all of the paint come off the MZ module and then the hiss started.
  22. So far it's OK. Senn rep said they have a different paint application now. Just wondering if someone had this fix and still have the issue come up..
  23. Greetings all, Repaired mic just arrived from Germany. Was having Paint and Hissing issues with the mic. Anyone else send there's back to the mothership and find their issues to fixed and stay fixed? Have read on different forums of 8060's making multiple trips back to factory for repair.. I must say though Sennheiser support has been very helpful through the process..
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