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Jamie Tongue

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Everything posted by Jamie Tongue

  1. Yes, timecode is just a metadata stamp at the start of each file. Synchronising timecode clocks between devices is not the same as synchronising the 'recording clock' between devices (that's what genlock is for). Timecode and genlock are different things. Vincent was referencing that within the world of production sound for picture that this website is mostly aimed at, timecode clocks which drift from each other less than 1 frame per working day is sufficient for ensuring that the metadata stamps at the start of each file are in sync with each other across devices. Yes, once recording begins, the devices all record based on their own recording clocks, but for keeping the sound in sync with the image, anything less than 1 frame of drift over the course of a take is fine. For multitrack audio across multiple recorders, you need much more accuracy, as you say. Down to a single sample, really. The SPDR never claimed to have genlock capability. It claims to have timecode capability, which it does have. But, no, timecode will not help you for your purposes. I used to be dabble in TS.com hobbyism myself, some years ago, so I fully understand what your purposes are 😉
  2. Do the Wisycom IEM receivers have compander emulation for the Sennheiser HDX (or others)? I think I asked Wisycom this question a few years ago and they said no they do not - has this changed?
  3. Sennheiser G3 uses the Tip for mic level audio input and the Ring for line level audio input (designed for electric guitar etc instrument outputs). Don't know if there'd be any (negative) effect from jumping the Tip and Ring to send the same mic signal into the mic input and line input simultaneously?
  4. I like my regular Zuca very much for my general personal possessions and as a place to sit, though I feel that the long and thin shape upsets the weight distribution so I'm not sure I'd like to trust it as any kind of sound cart.
  5. Yes, this has been the case for many months. I'd just ignored it, but since Nick has brought it up... Seems to be a latency issue, rather than a bandwidth issue. One clicks a link, and the entire website freezes for several seconds while chrome says "waiting for jwsoundgroup.net". During the several second latency freeze, the website is unresponsive and you cannot click on another link to another page until your original command finally loads.
  6. PWM400 only allows 2-ch slot input with Sony receivers (DWR-S02d for eg.) http://www.raycom.co.uk/wisycom-mcr42-el2.html This gives you an output on the top of the receiver to plug in to the camera XLR inputs to get both channels. I don't know if you can upgrade a regular receiver to the one with top output? Contact Wisycom.
  7. Tascam Dr 701? 4x mic input recorder. You will need to find some way of syncing external recordings with the FS5, which does not have TC i/o, as others have said. You will obviously have to attach the recorder to camera in some way. You will need to remember to hit record on two different devices, manage two sets of batteries & media. You will be able to monitor all channels on headphones, but Post production will need to expect to have to mix all the ISOs from scratch. As a multi-tasking self-shooting producer-director you will not be able to Mix effectively while shooting so Post will need to do it instead. Combined with any set of radio mics and on camera shotgun you like. Probably run the 3 radio mics and the on camera shotgun directly into the 701D, then output the 2ch mix from the 701D into the camera for guide track. RMs panned to ch1 and the shotgun panned to ch2. Set gain appropriately, leave faders all open, monitor only mix ch1 on headphones so you're only hearing the radio mics. Don't conceal the lavalier mics. I guess the 701D has the technical capabilities you need, assuming it can be operated adequately and issues of sync/power/size/weight/media/hitting record etc can be worked around. Obviously doing everything yourself will lead to a greater chance of screw ups, but that's your business.
  8. Europeans are limited by law to 50mW, however, Sennheiser Service UK are willing to enable the 100mW transmission power on 2000 series kit if you ask them nicely, pay a small fee, and give a heartfelt promise that you will only use it when overseas & legal. It's only £18 ($25USD) per unit so I imagine it's just a Firmware flash. Perhaps service outlets in other European countries will do similar? Not that any of us would ever consider using the high power modes illegally...
  9. I'm also pretty sure that it's upside down... the subtitles make it hard to tell but I think the S-series has the business end of the mic at the longer end of the basket, which I think is facing the ground in the screengrab.
  10. http://www.audiocheck.net/blindtests_frequency.php Can you hear anything above 16,000 Hz anyway? No, no you (probably) cannot.
  11. Two shotgun mics and no boom poles? Interesting technique. I guess with a 5 day schedule in which to shoot a Feature Film, there probably won't be enough time to extend or collapse a pole, just stand off the frame line and hold the mics in your hands?
  12. The 302 does not output any ISO tracks. The 302 only outputs L Mix and R Mix. The Tascam can record four inputs of anything you send it. You can use the Tascam to record the L Mix track and R Mix track from your 302, but these are not ISO tracks, these are two Mix tracks. You need a different mixer that can output ISO tracks (called "Direct Out"). (This post represents a deliberate oversimplification in the interests of clarity).
  13. Bonus points for the G1 (!) series wireless, where did he even buy that from? $50 off eBay?
  14. I was going through Heathrow recently with an ENG camera and 5 v-lock batteries. I had obeyed British Airways regulations to the very letter - I had one battery attached to the camera, four spare batteries with electrical tape over the contacts, all as carry-on. Airport Security lady flat out refused to let me take the batteries as carry-on, and told me that I must return to check them all in as baggage (!). She told me that according to Heathrow regulations (??) I was allowed to carry-on only two lithium ion batteries per person, and they must be in their original manufacturer packaging (!!) but she said I was allowed to check in as many lithium ion batteries as I liked, with no regulations (!?!?). In the end I just did what she said and went back to check in 5 x v lock batteries inside a flimsy unpadded backpack into the baggage hold, rather than risk being refused onto the flight / thrown in jail. The more I think about it, the more disgusted I am - I should definitely have insisted on speaking to her supervisor or something. At the time I just felt too intimidated to argue with, ya know, airport freaking security.
  15. You can also use them in a bag with the adaptor case things, though they are priced outrageously and very large. I would be interested to investigate if it is possible to build a custom breakout cable from the 15 pin DSub to XLRs and a hirose. Would allow use in a bag with less size, weight and cost.
  16. I'm not sure how exactly you define 'portable receiver' but Sony's DWX system is also fully digital and has a dual-channel slot receiver with the same form factor as a Wisy MCR42 or Lectro SRb (Sony S02d). Just saying.
  17. According to the respective specifications, the DPA 4060 (=hi sens) range (slim and regular shape) clips out at 134dB SPL, compared to the 127dB SPL clipping figure of the Cos-11. If your screaming actors are not distorting the capsule of your Sankens, they will not distort the capsule of the hi sensitivity DPA. The sensitivity specs of the 4060 vs the cos-11 are almost identical, with the DPA being slightly more sensitive (-34dB vs -35dB at the same reference voltage). I don't use Lectrosonics, but I would imagine you will have no greater/different gain problems with the hi sens DPAs vs the Sankens. Anecdotal experience: I have two regular shape 4060 (high sens) and two regular shape 4061 (lo sens). Specifications are identical to the new slim shape. I use the 4060 by default and have never felt the need to swap out for the 4061 based on voice level. I only bought the 4061s because they were available used at the right price, and I only use them as extras/spares. I would buy 4060 versions if I was buying new. I do not use Lectro, but with my G3s I have never had a problem with turning down the gain to an appropriate level with the 4060. On topic with the thread: I am very happy with my regular shape DPAs and I look forward to trying out the slim versions. I am not currently in the market to buy any more lavaliers but I expect that when I am ready to buy, it will be slim DPAs that I get. Thanks for your influence on this, Rado.
  18. Well damn, that's some speedy moderator response. Google says it's 07:35am in California, and on a Sunday right before christmas no less. Mental. Thanks. Expect a rambling essay from me in that thread sometime soon...
  19. For some reason I cannot reply to any threads inside the "Who Am I Today" section of the forum. I wanted to reply to the "Who Am I" thread, but I can't. There is no option to reply anywhere on the page. I seem to be able to create a new thread, but not reply to an existing one. I can see the reply box on any thread in any other section of the forum. Is this deliberate? It seems as though NONE of the threads in the Who Am I section have been replied to in months, only new threads have been created with no replies. Any thoughts?
  20. I agree. UK Ch38 = 606 - 614. One assumes that OP's mics will tune a larger range of frequencies outside of 606-614, but he should probably specify exactly which ones.
  21. RE. the in-camera audio recording, the FS7 will cease recording audio only if the "Slow & Quick Motion" feature is enabled. When shooting 50FPS in the S&Q mode, the clip is filmed at 50 FPS but flagged to playback by default at 25 FPS, effectively creating the slow motion natively in-camera. This is why the audio recording is dropped. However, the FS7 will also shoot 50FPS in regular non-S&Q mode, in which case the clips will be filmed at 50 FPS and also flagged to playback at normal speed 50 FPS. In this mode the camera will still record audio as normal, as the clip is just a regular speed clip at a higher framerate. The editor can then of course manually slow the clip playback to 25FPS if he wants, replicating the exact same effect as if the S&Q mode had been used, I'd say it would be a bizarre idea to film every clip on a given shoot in S&Q mode, so I'd speculate they will use the regular speed 50FPS mode, in which case camera will still record audio. You should probably check this with production, though.
  22. Thanks for the responses, I get most of it. But can someone confirm my understanding in the 4th post in this thread? Post #5 seems to contradict itself, and also seems to contradict post #2, so I am leaning towards being happy that my understanding in post #4 is correct, unless someone else can tell me where I am wrong?
  23. Right, OK. So, even with a continuous timecode feed, if the take is left rolling long enough, the recordings and timecode will/can eventually run out of sync with each other? So, the purpose of a constant timecode feed is purely to ensure that the start point of every individual take is synced and throughout the day? While, during each take, any incoming timecode is essentially ignored and by the slave device and it keeps time to its own clock (until recording is stop and started again), even with a constant external timecode source? Which, if you wanted, could also be achieved by re-jamming manually before the start of every take? I realise that re-jamming before every take would be rather inconvenient compared to just leaving in a constant cable, I am just asking hypothetically.
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