Mike Robertson

Most folks don’t look forward to wearing an mm1, let alone a separate power supply.

Duuuuude! I had the exact same experience w/ Wilcox - 2 months of no contact, 4 out of 4 Sankens busted- unrepairable. They weren’t even in for major issues. Such a bummer, their new repair tech does a great job otherwise, but damn.

Why do you think it wouldn’t help? Just curious, I don’t know too much about WiFi signal boosting.

Im using Viviana on a shoot right now, no experience with URSA. So far no complaints. Viviana thigh belts have sticky silicone strips running lengthwise to help prevent slipping which I thought was a nice touch. The TX pockets are said to be universal, but it is a bit of a chore to shove a TRXLA2.5 into one. Am I crazy, or do both URSA and VIVIANA straps essentially copy (and improve upon) the Neopax design?

I love the nomad, because essentially anything can be routed anywhere. That amount of freedom can mean more opportunities for user error, especially if you have to re-route things in a time crunch. My best guess is your headphone setting is incorrect, and maybe your isos are being included in the headphone matrix. Double check that you have the correct bus or card track selected in your ["mix" headphone preset]. If it looks good there, double check what is being routed to that specific card or bus track. Good luck! Please post again when you've figured out your issue.

I'm sorry their post team is so inexperienced. Did you provide a mono mix to one of the cameras?

I worked on that - the table read went more like a comedy. I was surprised they went dramatic with it. The stage direction and dialog got pretty hard to follow but I thought everyone did a good job going along with it. The song at the end was also written by AI, for lyrics - I think it did great since they are more subjective anyway. Back to the original post - I think having a algorithm automatically place footsteps in sync would be very helpful.

Did - nice video guides, usually under the 2 min mark. Notes as well. Thanks!

I found someone searching for the same info on creative cow. Other than reaching out directly to Eric Toline, this is what I could find. also found this: https://cs.uwaterloo.ca/~mannr/Export/mke2wiring.pdf MKE-2 wiring Which states that the blue wire and the shield are joined together at the mic capsule. good luck

The search terms from the post brought me to an obscure message board [archiveofourown.org] with a loose transcript of the episode under a tittle "The Librarian and the Bobbie". I found what I thought was the series name - from there and it was google and youtube to the rescue. google - "The Librarian and the Bobbie" and the first result will take you to the site I found it on. I have no idea how to navigate that website. It was fun, glad I could help.

OK - heres what I could find. A TV show called Hamish Macbeth. Episode: No Man is an Island Woman on landmine at beach - check bird poo - check crutches - check

-I get under 4 hrs with the black eneloop pros with SMs. -SMQV > LT for a lot of reasons. Battery life being one of them. -If battery life is your only concern, you can get a high capacity 9v and use a um400. Will last till lunch easily.

It's good to see im not the only one battling this beast. It's a bummer because I feel the starch shirt / no tie combo is going to be a "thing" for awhile. Things that have worked for me- hiding mic in plain sight, [b6, TL40, Mickey Mic] on wide shots you can get away with more than you would normally think. I just let wardrobe and scripty know where the mic is ahead of time. also, I am becoming a big believer in top stick, not to mount the mic, but to control the clothing directly around the mic. Taping shirts to jackets, shirts to skin. overcovers work well if you can get rid of the giant nipple effect. If i absolutely have to on hairy chests, I put mole skin down on the chest first, then attach the mic to the moleskin, with more moleskin. good luck, and if you find the magic formula let us know.

I believe they have an off/mic/line option - you can adjust in the small menu tree, what i thought was cool was that you could record higher quality audio above 48khz, 24 bit for some reason. 96khz/24b

Hey wondering if anyone has worked with the new digital Bolex. Seems like more of a toy than a real production camera. [arbitrary spinning wheel control]. Looking for experiences / successful work flows for getting usable audio into camera- I found the meters a little weird to use. [initially lining up -20] With an internal SSD and no playback function, Ill have to wait until tomorrow to hear about the results.

+1 for what zerascal said. It sounds like a 44.1 khz issue thats causing the pitch shift, I would check your files with wave agent and make sure the problem isn't on your end. I seem to remember something like this happening to me for only 1 take last year [with the maxx]. Super easy to fix.

Hey guys, Was recently looking for new headphones and found a great website for A/B comparisons [source vs. headphones] They posted a video on what I consider a pretty intricate testing phase. Headphone Testing They also have a soundcloud website database of different headphones / monitors / microphones. I found it very useful narrowing down my selections. Sound Cloud Library Apologies if this is old hat - but it is kind of fun to see how the cans you are using stack up against the mastered tracks.

Yep - little homework was needed. Thanks! Having manuals handy was a good idea.

Hey folks, At the last minute - DP switched frame rate to 59.94 interlace - for "that video look". What TC frame rate should I be using? 29.97 DF or NDF? - no one seems to know. Neither of them seem to be staying in sync. As for today ill be running scratch into cameras and removing TC from my recordings using wave agent- out of paranoia of them playing back the wrong speed in the edit. Any help would be appreciated thank you very much.

I am a backer! Really hope this is successful. I appreciate taking the seemingly endless amount of gripes and suggestions into account. That's a great way to run a business and I look forward to future efforts.

Wow very cool ! Thanks for the info Jim!

figures - not even 2 weeks after buying RX3

Fantastic - you should really come up with a name for this. This should be a standard piece of equipment in the kit.

those mics sound identical [played though yamaha hs5], maybe a slightly higher noise floor on the second one [mickey] but only the mixer will ever know that - MAYBE a snobbish post guy. Mickey seemed to handle cable rustle better; but the TL40 cables are not always the same. To be honest though - if you don't need to hide the mic, the stock ME-2 mic [im assuming g3s] has a better frequency response, better protection against higher SPL, and for what it's worth, a smoother waveform when looked at in a DAW Thanks for doing the comparison! I have been waiting for one for awhile now. Maybe for future tests you could really spell out which mic we are listening to.

you are in real double edge sword territory. I find its best to see if you can ask one of the higher ups if anyone wants anything specific from the audio dept, it will also help in flushing out how professional their post process will be. A good tip is to set up a mono mix headphone pre set, If it sounds decent to you, chances are post won't be able to make it sound much worse. I always feed camera when it isnt too much of a PIA, it helps with syncing, watching playback, and help if TC drifts. It can save you if you god forbid forget to push record. Whats cool about the 633 and 664 is the ability to send different mixes to different cameras, even if you are not recording them. good luck, if you find a perfect solution to this widely debated topic, I'm all ears. my last two cents: when handling my own post i usually dump the R channel and pay closer attention to cleaning up the iso lav tracks. theres always something that needs a bit of fixin'