chrismedr

it depends

true. luckily we had the v-mount battery on rods with quite a bit of a gap between, plus it held up timecode really well through 6-7 hours. we only lost timecode once on a battery change, and it usually held up through quite a few minutes with no power at all.

also worked with the camera recently, very nice machine. i wonder if there's a right angle mini lemo somewhere because we had a normal one, and while this worked quite well it feels like a right angle one would make lens changes and wireless focus motor placement a bit easier. chris

maybe, but it's pretty unlikely that we're going to see this conversation (and probably rightly so)

well, at this point it becomes a "he said, she said" thing that no outsider can really verify... i don't know neither of the two gentlemen personally, but from the few interview videos i've seen of them i have a strong feeling to believe one of them more then the other ; ) chris

i had problems with a bad usb cable once..

... and it it *is* in front of the talent you have much worse things to worry about then whether it's green or black ; ) the only moment where it would make some kind of sense if the mic would be behind the talent, and usually this becomes manual roto job too because of the unevenness of the mic rig. chris

do you mean the b&h video? there's a comment that says it's actually a 3 capsule design (no idea if that's true, but it seems to come from a sanken dealer): http://www.bhphotovideo.com/explora/audio/hands-review/first-look-sanken-csr-2-shotgun-microphone i have no experience at all with that mic (nor the CS3e), but from the interview it sounds like that they focused on the rear rejection more (while on the CS3e it's more side rejection) as why to put on a switch: most likely the cancelation method introduces somewhat unnatural sound, so in situations where you don't need the back reduction (controlled environment) you might want to switch it off. that way you get the best of two worlds, a harmonic sounding mic in low noise environments and one for catching usuable dialog in very difficult situation. chris

i think the main reason for getting the 416 is the ruggedness. other then that, some might prefer this mic and others that. depends on work requirements and other things. personally i'd probably get a mic which has different characteristics from your MKH60, like a CMIT or a 4017 unless you need to intercut the two (and then you'd probably best of to use two identical ones)

ips talks to DPA about the different preamps and the mounting problem (there's an even smaller one then the C) https://vimeopro.com/ipstv/ips-tv-at-ibc-2015/video/139324645

fantastic stuff, i really enjoyed watching those! it's also nice to see how many great guys are producing the audio gear, you can really feel that they love what they do. thanks a lot for the effort to make those.

i don't know anything about the reasons of writing the compressed data to the card, but card speed is very unlikely it. even if you would write at uncompressed 96khz/24bit you'll still about five times less what a 5D and about 50-100times times less what a blackmagic pocket writes to an SD card. i can imagine the reasons could be from the architecture (ADC and compression could happen in one step, power savings etc), or it might be the choice that the benefits (space savings/longer recording times) are bigger then the disadvantages. quite possibly it could also be that they offer encrypted recording which might be easier with their already compressed/encrypted signal.

if you use two large high quality L-batteries they will power the 633 for ages even with all three mic ins powered. it draws about 5W while idle with inputs active, so probably still under 7W when powering three schoeps mics and in record, i.e. two Sony NP-F970 will get you through a long day.

there's also a william wyler movie called "The Big Country": http://www.imdb.com/title/tt0051411/

i've found the rubber band method somebody recommended on this forum (can't seem to find the post atm) to fix the right angle jack to the tentacle very useful and in some ways even preferable to a locking plug.

the tentacle sync would be another option. have a look at radio's comparison, have a look if you haven't read it yet: http://jwsoundgroup.net/index.php?/topic/25789-tentacle-sync-review-and-comparison/

yeah, sounds very odd. latest firmware seems to be 2.01 btw: http://www.sounddevices.com/support/downloads/688-firmware the main addition that could trigger a firmware request could be this one: Support for the SL-6 Powering and Wireless System. but if you haven't changed anything on your machine and one day it was working and the next it wasn't please get in touch with SD. chris

well, ALAC is lossless compression... what i don't get why they limit the format to 4 tracks.. even more since ALAC supports 8 tracks already.

to me it sounds like a rather obvious decision: if you don't need more then 4 tracks, 1000USD for a used 744T is a great deal, and if you later on need to upgrade, you can sell it at nearly no loss. if you need more then 4 tracks, well.. as said, it's kinda obvious ; ) chris

wild guess would be that the internal memory for settings broke... seems to me that you've done all of the trouble shooting you can, i would try to contact the dealer where you brought the unit from and file a repair as hopefully the unit should still be under warranty.

you won't get those awful distortions of your mixers headphone amps ; )

well, i wouldn't want to trust the automatic channel selection of 8 AVX next to each other. that and the auto gain and keeping track of 8 sets of batteries... but i find the idea of a headless recorder intriguing, imagine a nomad or 788 spliced in two where the body with all the inputs is separated from the control panel (one with physical knobs, not touch based). heck, it wouldn't even have to be wireless, just being able to run it on a cat5 cable would be completely awesome. the F8 is probably closest that we'll get for quite a while. chris

lovely - here are the direct links: https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_F8.pdf https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_F8-Control.pdf some things i've found while quickly glimpsing through: - looks like the remote app can control the input trim knobs indeed (and they also thought of little things like a slate tone lock to prevent actually pressing it during takes). - limiters appear to be digital, they say they are new and improved with "10dB of head room".. so i assume they don't use the full range of the ADC but reserve the last 10db for digital limiting? - timecode is supposed to be accurate to 0.5 frames in 24h (!) - you can program the meter views, 4 presets and each of them can have any combinations of two neighboured inputs (for example 1/2 + 5/6 + X1/X2). wish the 633 would do something similar.

i was mainly continuing the thought on the put an iphone touch on the boom to see the meters - it could be worth a try in one-man docu situations if you could also adjust the analog gain (which obviously can only work if the rotary gain knob is not controlling the preamp mechanically). then again the dual-level backup recording feature is probably more useful in those situations. chris

does anybody know if the bluetooth app will also be able to control the analog gain or does this only apply to the digital post faders?