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chrismedr

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About chrismedr

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    Germany
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    documentaries

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  1. did you reset all settings to factory defaults after the firmware change? just a thought chris
  2. forget about gear for a while - Take what you have and borrow some stuff, run around in your home town for two days filming similar situations as you're planning to do later on, sit down look at it and listen very hard, realise all the things you messed up, repeat the same procedure like four or ten times times. Then read up a bit about gear and then come back and ask specific questions ; ) chris
  3. yeah, I can definitely imagine some manufacturer making this a bit of a painful transition. but still, the topic of this thread is called "Future of Timecode system", and personally I feel that satellite synched devices would make for a strong contender (the other option being, let's keep the current method for the next 100years)
  4. I use a VOLTCRAFT Charge Manager 2016 for checking my eneloops every few months: https://www.conrad.de/de/p/voltcraft-charge-manager-cm2016-rundzellen-ladegeraet-nicd-nimh-nizn-micro-aaa-mignon-aa-baby-c-mono-d-9-v-202016.html the advantage is that it doesn't just measure voltage, but rather the full discharge energy under a selected load. Doesn't help with non-rechargeables of course and it's not designed with Li chemistry, but really helps to find out when to replace rechargeables. chris
  5. I understand what you mean, but there was a point when people developed a standard for the current TC system, and it would definitely be possible to do the same with TC based on GPS (and probably even to keep the two compatible). if there's enough demand and benefits to do that is a different question
  6. yeah, of course for such a synch method to be truly useful you'd have to have an internal accurate clock as well which holds time code over a few hours (not much use if it drifts if you loose GPS signals for like 20minutes). I'd also want some warning indicator if there's no GPS synch possible and possible a submenu where you can see when the last synch has occured. obviously not going to happen in the next Canon 5D MkV, but maybe in 5 years time something like this is becoming a standard at least in professional gear.
  7. interesting unit, seems to be sold out though. here a comparison to some other mics in a studio situation https://www.youtube.com/watch?v=g4h7XZtf3XU&t=1s
  8. completely agree that "Dish" doesn't look to be aimed (or very useful) for dedicated audio teams. I don't quite see why you couldn't use a GPS signal to synch the internal TC clock to 23.98/29.98 thought, I'm sure there are some gotchas (like Bouke mentioned) but it doesn't seem to be rocket science either. As mentioned the real benefit would only come once all the cameras/recorders would have this built-in, so we don't even have to think about it anymore. for this to happen there would have to be a big player setting up a standard though. I guess Ambient would be in a pretty good position to make this happen (or at least attempt it) - but on the other hand they would probably kill one of their core products if they succeed, so I can see why this is not too tempting ; )
  9. who said anything about forcing you? you could still unpack your lock-its, make sure they are charged and synched up, make sure you have the right audio cable and record audio-LTC on the camera and hope it will be readable by the editor ; ) I figure an offset feature wouldn't be too hard to implement once you have satellite time synch, but personally I usually use the time of day as time code. maybe I should add that I don't believe either that it's really a big deal, but if I could choose between every Sony A7, Zoom F4, Alexa, Sonosax R4+ etc having built in satellite TC or not, I'd go for the former. chris
  10. for me the benefit of this would be once all devices to have this built in - even cheap dslr type cameras. obviously it's going to be a while ; )
  11. finally somebody who tries to tackle TC sync by satellite: https://www.newsshooter.com/2019/04/30/dish-timecode-sync-by-satellite/ I find the idea intriguing, hope they manage to get the unit a bit smaller and it proves reliable. I do think that a display would be nice on a unit like that, and a status light which indicates that there is a satellite signal. chris
  12. thanks for the link. so it seems to use a 18650 type of battery - no mention of run time as far as I could see, but should be fairly long.
  13. chrismedr

    Aladdin

    Hello, some remarks on your question: 1. You should try to give it a proper topic name (Aladdin is rather confusing) 2. If you hae two different voices, you usually can get away with using two different mics 3. If one is a real person and one a puppet character, then it might even be preferable to use different mics to make them sound different (obviously you could also do that in post) 4. If you *really* want the best results (and learn something on the way), you should try this yourself and decide how big the difference is and if you like it or not. good luck chris
  14. with all respect, I don't feel like I'm bitching (or even complaining) about the lack of dynamic range. But believe me or not, I really do think that a recording system which captures the full range of a microphone output in all it's fidelity without having to worry about levels at all is intriguing (that's not to say that I believe for one second that it will make for better films or concert recordings). so why don't we all record at -40dB all the time and forget about limiters completely? I know I don't because a) post/producers would kill me, b) I'd essentially have a 16bit recording for most of the material and c) I feel that the sound quality is better if the gain is set to the proper level. what strikes me as odd is that you're so dead set against the idea. To me mapping the real world sound values to basically infinite values without hard ceiling seems the much more logical way to deal with digital audio recording and processing then having to constantly turn a knob and adjust to an arbitrary defined point (which will seriously compromise my recording if I accidentally mess up). I won't loose any sleep if floating point recording never becomes practical, but I woundn't be surprised if it's the standard in a few years time. chris
  15. probably not much (if any) difference... but as mentioned: a) post will not be happy if I hand them files where everything is recorded at -40db (assuming you mean normal at -10dB) and b) recording at -40db doesn't seem to be a good choice when recording a jazz concert where one minute the main instrument is a solo flute at very low levels and the next minute you have the drum kit and trumpet at full blast. admittedly not a everyday scenario for a production sound mixer, but personally I'd love a really good dual preamp/ADC recorder that save to float for those occasions because if done properly*, you simply don't have to worry about level anymore at all. chris Edit: I'd be very curious if somebody from Sonosax could add their view on this since they basically already seem to have half the system in place. *(probably not going to happen in a 500EUR device like the F6 discussed here though)
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