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Everything posted by chrismedr

  1. chrismedr

    Deity Connect.

    Audio doesn't get a single penny from that VAT, so they get exactly the same money from VAT registered customer vs one which isn't, and so are the dealers. It's really a government thing, if you fly over to the States and buy an A10 you'll pay the same VAT (plus tolls) out of your pocket and end up with a very similar price (you can get the VAT back if you are VAT registered though). The small price difference that remains is probably because of the stronger competition of lectro and zax in the USA. this went rather off topic though, sorry for that.
  2. chrismedr

    Deity Connect.

    the A10 RX currently sells for 2145GBP (at CVP and pinknoise), that's 2830USD, and 2190USD (at trew), so that's 1.3x unless I'm missing something. noizeboys has it for 2380EUR (= 2755USD), so it seems to be more an USA vs Europe thing rather then a UK specific issue. still a pity about the brexit.
  3. First units appear to be shipping, so I thought I'd worth mentioning the interesting points for soundies: Audio in through unbalanced 3.5mm stereo jack or one channel balanced TA3 with 48V phantom. According to the manual it also accepts TC through the 3.5mm jack real timecode camera metadata (like the MixPre-3/6) If anybody gets a hands on with one of those let us know how it works : ) chris
  4. chrismedr

    Tentacle Sync Workflow

    for me clapper boards and time code can happily co-exist. Keep the clapper board for organisation and backup purposes (and not least for concentration on set) and add time code anyway to make the job easier for the assistant editor. if the camera department wants to use a camera without TC, then audio LTC, plural eyes, or clapper board it is (or any combination of that) and I agree that production/editorial should make the decision what best fits their workflow. I'm happy to advice but usually get ignored anyway (and who knows, maybe rightly so ; ) chris
  5. chrismedr

    Tentacle Sync Workflow

    I would generally agree but in this case I feel that this is a tool of the editorial department, and it's really not the sound production mixers job to provide software tools to synch up audio LTC (or take the time at the end of the day to provide a synched XML). That's not to say that if I help out a friend with his no-budget indie film that wouldn't do it as a favour, but otherwise explaining the producers the three options in a friendly way sounds like a very reasonable way to solve this. that is if you get involved ahead of the shoot - unfortunately sometimes these things don't come up until the morning of the shoot. chris
  6. from the manual it looks like you can route TA3 balanced mono, built-in micc L, built-in mic R, 3.5mm L and 3.5mm R in any combination to the 2 camera channels. so you could use the built in camera mic for scratch which should have better quality then the tentacle mic. edit: ah, vincent already covered that, sorry for the double. some cameras have already been delivered (not many in the US though) and yes, the TA3 has P48
  7. chrismedr

    Audio Limited A10 for talent.

    personally I feel audio quality of gear has been the least important part for quite a while in general, and even wireless has reached a point where it's quite frankly good enough and I very much doubt that any film will sound significantly better with better transmitters... It's tempting to focus on gear (which can bee seen on the post count in the different forums on this site, and I'm probably worse then most in this respect), but I feel that skills, ideas and technique are much more important then the tech specs of (professional grade) gear. for example, 20% better lav placement will make more of a difference then 100% improvements in "compression noise", or 32khz vs 96khz. If anything I find overall sound quality has gone downhill in the last 30 years... just compare the sound scape of the original "Blade Runner" to any german film made in the last 20 years. clearly wireless quality is not the main problem ; ) chris
  8. chrismedr

    Audio Limited A10 for talent.

    I think we can agree that at this point all the major manufacturers of wireless make incredible products with outstanding audio quality, so it all comes down to personal preference of features and, strangely, irrational sympathy. I always wonder why I sometimes prefer one company over another even though both make great products, and it seems that this is a common thing (just read the canon, nikon, sony forums ; ) back to topic, some of the features of the A10 look fantastic to me (balanced P48!) and I'm sure they sound great. Would love to get some, but can't justify new wireless at the moment. chris
  9. chrismedr

    Deity Connect.

    yeah, I imagine it will work pretty well (although the cellphone comparison doesn't exactly give me the best confidence since they all use a common documented standard and I still get a lot of dropouts pretty much everywhere)
  10. chrismedr

    UltraSync BLUE - Timecode over Bluetooth from TCS

    well, since TC in consumer gear hasn't happened yet, so all I can do is hope and speculate ; ) it might be pointless to do so, but the UltraSync BLUE seems to indicate that Timecode Systemsis betting on it (as said, otherwise I really don't see much of a point for this product) could be, I don't expect a 5D MK V to have a stable clock or TC sync possibilities either... on the other hand it seems quite possible to me that Blackmagic or Panasonic will in their future products. Atomos already has: https://s3.amazonaws.com/atomos-web-uploads/press/Atomos_AtomX Sync_PR_Final.pdf
  11. chrismedr

    Deity Connect.

    well, I meant also units from different manufacturers fighting over free bandwidth while switching randomly creating a lot of overhead. but it probably still beats having static channel selection and allows for more efficient use of the spectrum, so I'm also curious to see how well it works and how it plays along with other devices.
  12. chrismedr

    UltraSync BLUE - Timecode over Bluetooth from TCS

    Fair points, but if the normal range is around 10meters, then it should be fairly stable if you rig it to the tripod leg/shoulder pad etc. and I would hope that the camera/recorders clock would be accurate enough to survive a 5 minute connection drop, and that an message would pop up on your iphone/android about the lost connection. Actually my thinking was that if a manufacturer goes through the effort to implement BT TC sync, they'd have a good enough internal clock that we would only have to synch twice a day and then BT would sure be more convenient then carrying 5 different TC cables. plus the manufacturers might even save cost and space by not having to build an extra port for TC synch (I'm thinking small cameras here like a BM Pocket, not Alexa - as a side note, the new BM Pocket 4K should be able to accept TC on the 3.5 TRS while still have a mini XLR with P48 for audio). chris
  13. chrismedr

    Deity Connect.

    sure sounds like a clever concept. what I am wondering is what happens when more and more devices try to be clever and hop frequencies/channels all the time. I imagine we run into problems as all devices think "hey, there's some free bandwidth over there" and hop around to the same spot simultaneously. could be that by that time everything runs on short synchronised nano second pulses anyway though...
  14. chrismedr


    ... and adding to that, if they don't have the budget for a boom, they most likely won't have budget for proper (or any?) dialog editing/sound mix either.
  15. chrismedr

    UltraSync BLUE - Timecode over Bluetooth from TCS

    I agree, it seems a bit pointless atm (or at least I fail to see the point) but it also feels like a chicken and egg problem: If no device sends out TC through BT, no manufacturer will create devices which synch through BT and the other way around. If this UltraSync manages to convince the camera and recorder manufacturers to adopt this method then this will be great - not sure if it wouldn't have been better to make it open source instead of patenting though (and I assume this won't be compatible with the BT protocol of TentacleSync). And personally I would have liked if they added a 3.5mm TRS to use it on current cameras too, because at the moment I see zero use for it, and very limited one in the next couple of years. chris
  16. chrismedr

    Tentacle Sync Workflow

    Yes, resolve works fine with Audio LTC. But for Audio LTC, you should check with your post production coordinator or the editorial team that they are up for it. And I generally try to run a test first to iron out all the possible glitches. chris
  17. not sure this is good news: https://www.newsshooter.com/2018/09/26/vitec-enters-the-audio-market-with-rycote-acquisition/ edit: didn't see there's already a post a couple of hours ago ahout this:
  18. chrismedr

    Who do you use for personal Equipment insurance?

    the freezing exemption sounds strange (never heard of such a clause over here), I mean in a lot of places temperature is below freezing for quite a few months. and anyway, I wonder how they would claim that a certain damage was due to cold and not something else. chris
  19. chrismedr

    IPS TV @ IBC 2018

    great, was waiting for this - ips video coverage is the best. thanks a lot for all the work! chris
  20. chrismedr

    Update on the upcoming Tentacle Sync-E

    I don't remember where I found the link to this article, but there is quite a lot of details on an example workflow with using tentacles and synching here : http://www.fcp.co/final-cut-pro/articles/2101-editing-a-boxing-movie-on-fcpx-an-updated-journey quite interesting, even if done on an oddball editing system chris
  21. chrismedr

    Arriflex 416 and Timecode

    that would probably have been the least of your worries, as stock got finer grained and has more latitude the timecode reader likely gets a cleaner reading then before. from the manual: LED intensity - kodak stock id - film sensitivity 7 - 7201 - 50D 6 - 7205 - 250D 6 - 7212 - 100T 6 - 7217 - 200T 5 - 7212 - 500T 5 - 7229 - 500T so generally generally speaking put 50 ASA daylight stock on 7, 200 ASA tungsten and 250 ASA daylight stock on 6, and 500 tungsten stock on 5. but as mentioned you'd need to do a A to Z workflow test anyway since there are so many hidden places where things can get screwed up. so slating is a good idea anyway, if only as a backup (since there isn't even a camera audio scratch track to line things up if something goes wrong) chris
  22. yeah, I see, that's the other side of the coin ; )
  23. sounds reasonable to me... 14$ for answering a phone call/email, receiving shipment/accepting the drop-off, 10minutes of repair work, checking everything is allright, shipping things off/arranging pickup etc... don't see how they could do it much cheaper and still pay the electricity bills.. of course if they put in the wrong antenna that's another story chris
  24. chrismedr

    New (grey) Rycote Cyclone

    looks nice: http://rycote.com/microphone-windshield-shock-mount/cyclone/ http://www.newsshooter.com/2016/08/02/excellence-in-sound-16-event-rycote-update-cyclone-modular-windshield/ any hands-on experience anyone?
  25. chrismedr

    HiQ battery > Magsafe 2

    afaik apple didn't licence magsafe to 3rd parties, so there aren't many solutions... some companies did cut off the connector from the power supply and connected it to a LiIon power pack (I used one of those when we needed to have extended runtime in project off the power grid). not cheap but light and works well. alternatively, you could use a common 12V battery with an 12V DC to 120/230V AC converter and just plug in the normal charger, conversion losses shouldn't be too high if you use a good AC converter (also the apple power supply needs a good AC converter, otherwise it refuses to work - Tom's idea with the airplane adapter would probably avoid that problem and be smaller overall) chris