Jump to content

Search the Community

Showing results for tags 'Slate'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Main Board
    • Current
    • The Daily Journal
    • General Discussion
    • Equipment
    • Cameras... love them, hate them
    • Recording Direct to Computer
    • Workflow
    • The Post Place
    • Images of Interest
    • Macs... and the other computer
    • All Things Apple
    • Technical Reference
    • Do It Yourself
    • Manufacturers & Dealers
    • Work Available - Available for Work
    • Post to the Host
    • Donate to Support JWSOUNDGROUP

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start





Website URL








Found 14 results

  1. Hello on set today yet another debate about the naming of the slate for pick-up takes... Not the first nor the last I am pretty sure, especially when working with newcomers continuity person. There seems to be 2 schools of thought: The ones who name it scene/shot/take pickup (like scene 100 shot 2 take 3 pickup after a 100/02/T03 take. Then onward 100/02/ take 4 pickup...). The other ones -including myself - who prefers to name it scene/shot/pickup/take (starting from take 1) as the point is to do a pickup of the shot, not of the take, so take number of the pickup can start from 1 (So scene 100 shot 2 pickup take 01) and increments normally if needed. As Sound Devices recorders do not allow to name take but only scenes I always try to push towards this last way and most continuity persons agree. But there is often a debate about it. So my file would be named 100-02pu-T01.wav Choosing the 100-02-T03pu way is putting me in the obligation of putting in the notes the way the slate was named which is frustrating and time consuming, but also does not make sense imho. What are your ways and opinions about it ?
  2. I have read the TS-C manual a million times. For some reason I'm just not understanding how to change the clap hold so that it will display the timecode, and not the date. Can someone explain how to change the clap hold, and also if there is supplemental help to understanding the TS-C other than Denecke's manual? Update: I've been informed that this can only be changed on my mixer side of things. When I head to my Time Code Jam pressing the TC key twice, and then I select jam date and jam time, then I sync my slate, it will hold time code only after the clap. That's what I want my slate to be most of the time. But let's say I wanted to go back to displaying the time code, then the date, how would I do that? What am I missing? Thank you for the help so far.
  3. Hey folks, I recently saw this slate on consignment at a local camera shop, and I was wondering if any of you out there recognised it. it is fairly inexpensive, but it may be a case of too good to be true. I've done my own search, and have had no luck finding anything in current, or legacy products that even look close. It has a unibody design with an indent in the back as a handle. The T/C input is a 3.5mm plug. it takes 6 AA batteries with an opening panel on the back. There seems to be no brand name of any kind anywhere on it, control wise, there are 4 colored buttons on the back face next to the battery compartment. I managed to boot it up at the store, and it displays "TS-00" on startup before listing the battery voltage, similarly to Denecke slates. Talking to the folks at the shop, they were told it is from Russia, but they have no manual or any other info about it. The seller, likewise has no further information on it.
  4. We proudly present one of the biggest Firmware updates in our history. Including Complete GUI overhaul, New Smart TRX Mode, Full Jam Mode, Custom Slate Clap Display, ... and many more improvements. To get the full story, just follow this link: http://eepurl.com/bMtgIT or just download Firmware 4.01 on www.ambient.de/en/downloads Kindly Timo
  5. I've gone over the relevant threads, which were very helpful (and must publicly aknowledge Marc Wielage for his time on email and over the phone, helping me figure out this issue,) but I couldn't find an answer to this particular issue. I have an upcoming shoot that includes playback of a track, which a few 9-year olds (background) will lip-synch to. I've built a striped-timecode playback track, with the appropriate countdown beeps, by summing both stereo tracks into the L channel and TC on the R channel. Regular speed is 23.98 and we're shooting with an Alexa. They also requested a 60fps version and a 120fps version. I did the math and used a Pro Tools plug-in that speeds up the track(s) without affecting the pitch. I'm feeding the TC channel to a Comtek 216MHz tx, which sends its signal to a TS-3 slate connected to a receiver in the appropriate channel. When running 23.98fps everything is perfect. However, any other speed shows jumbled numbers on the slate. I spoke to Charlie at Denecke about this, and he said it would read 60fps, but the slate won't read even that speed. So I have two questions: 1) if I switch to a higher-resolution wireless system (I have a couple of Sony UWP kits that I use for camera hops,) will the slate be able to resolve the higher speed(s)? 2) Should I stripe 23.98fps timecode on the higher-speed tracks, sending those reference tracks to post, so they can at least line them up with the camera's visual cues? Thankful in advance for any suggestions or comments you might offer, BK
  6. hey all, Im kinda in a pinch, on a small budget. I will be running sound for a single person interview w/ multiple takes this sunday. I have a 788t. Limo out to bnc is the only cable i have to use. Obviously the 5d does not have a bnc in. I dont have it in the budget for a Denecke time slate or timecode buddy. Does anyone have any suggestions on a way to sync my 788t (master) to the 5d without potential for alot of drift.. the good ol hand clap? Any suggestions would be greatly appreciated. thanks ced
  7. Hey guys, Just wondering which among you do sound reports manually with pen and paper or do them electronically with a laptop, iOS device, etc. (or who doesn't do them at all? I.E. OMB? Reality Shows? etc.) Also wondering how often you put a reference tone file (-20dBFS) in the daily folder for post? Is this still needed usually? Thanks Guys!
  8. For all you timecode buddy users out there, I have made my own custom TC slate to use with MovieSlate or your other favorite slate app. I started by customizing a cheap Ikan slate. I removed the clappers, bought new light weight, yet durable black board and cut it to size. Then I drilled new holes, fastened the clapper sticks via screws to the board, did some other mysterious modifications to improve the quality of the clappers and made the new slate customizable. I am using the survivor military case for the ipad, along with additional screen protection that is replaceable. There is a half inch border of board to help additionaly protect the ipad. The neat thing here is that you can swap between the Ipad and the original slate anytime you want. Check out the photos and video and let me know what y'all think. :-) http://youtu.be/7sNs7vQJMmI
  9. Email sent to Denecke but I figured I'd throw it out here and see if anyone has an answer (I wasn't able to find any postings via search or google). I have a TS-3 and the clip for the notes plate came off the other day. I was able to fish out the spring and nut so the whole piece is together. I was wondering if it's easy enough for me to open up and pop back on myself or if it's necessary to bring it in. Thanks!
  10. Just been checking different breeds of time code, and I found it cross jammed fine. Should I leave it as is, or make sure it can't be done? Thanks martin
  11. Hey Guys, Back again for some insight. Starting my 3rd feature and we are going to be using the Alexa along with my 788t and an Ambient radio slate with one receiver. We will not be using lockits, so my plan is to have the ambient receiver on the camera and jam the slate from my 788t as much as possible. What mode is the best to work in? If we go with free run or 24 hour run, could i keep the wireless receiver off and just instruct the AC to flip it on for jamming purposes? Should we do a rec run setup? I know the camera guys wont be thrilled about me controlling camera record functions. I hear the Alexa keeps time code really well. BTW, I will not be sending a scratch track to camera.
  12. Anybody know of any manufacturer who makes a whiteboard slate that has a 'Sound' section for the name of the sound mixer along the the Directer and Camera Op? I was thinking I would be well served by having a dumb slate with me as it is frustrating how many camera people and productions claim they don't need one (or don't own one for whatever reason), so I thought I'd get one where I could put my name on it. Or maybe a manufacture that makes them custom ordered? Suggestions?
  13. Hey guys, So, I'm doing some run and gun type shooting with DSLR's tomorrow. I'm wondering if anyone has had any experience using the built in slate on the Nomad. Does it work well enough for quick stuff? If i can eliminate needing the slate, it would be cool. Or is it just easier to old fashion slate it? -w
  14. Got thinking about it be soundslikejustin's post: "A timecode slate, if required, is the property and responsibility of the sound dept, but is used by the camera dept. A traditional clap slate (at least on the jobs i work on) is solely the responsibility of the camera dept. " Why is this? I my mind, if there is a piece of equipment that is used constantly by the camera department, it should be the camera department's. I realize that sound is responsible for timecode, but does that mean we should have to bring the camera dept a slate to use and abuse? I worked on a Union show where A slate was a rental and B slate was the sound mixer's. The AC's would bring the slates to the mixer at the top of the day (leaving them their if he was currently busy), and then retrieve them once they were jammed. This would again happen at lunch. Later in the day we head a giant sound which was obviously a slate dropping. We look and see it's the B slate as the AC picks it up. The mixer knows what's up, but the AC has the nerve to go and ask me to bring the slate to the mixer (I'm the Sound Utility) because the slate is "acting funny", not even admitting they dropped it, let alone apologizing. I just think that for my kit and my money, for me to spend $1200 plus on something that the Camera department uses exclusively, doesn't really feel responsible for, and doesn't actually get me any more sound capabilities (Wireless, etc.) then I don't see the benifit. If production wants a TC slate, they should add it to the camera rental like they do if they wants a B or C slate when the mixer already has one. Thoughts/opinion?
  • Create New...