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Found 14 results

  1. I'm mixing a short film for a director who owns this camera (discontinued 8K beast from 2012). The audio and TC is all very straightforward. But in a discussion about hops and backup recording, he messaged me: "I'm seeing that the F65 takes 16 channels of embedded audio through an aux sdi input. Does that help you at all?" I'm not sure what this even means: is there a breakout box or converter that would convert my ISOs and send them to camera? Or is this via AES? The SDI aux input is BNC. Here are images from the F65 manual. Thanks to the brain trust!
  2. Sony has done a small re-vamp of their UWP wireless system at NAB. The main emphasis seems to be on about a 20% size reduction. There is a new (smaller) smart hotshoe adaptor for the receiver, and one option seems to be the ability to flip a switch on it and decide whether it outputs analogue audio or digital audio through the hotsoe. They will be doing an update to their Z280 camera (which has two such "smart" hotshoes), and I would assume that will enable the digital throughput aspect. The update will also allow camerapeople to see signal strength and receiver info in their viewfinder. Another really nice feature is that the scan-the-band and sync feature is enabled by a dedicated button, rather than having to dig through the menus. No word so far if they are coming out with a new two channel receiver. Here's a video that shows some alternate views that the currently released press photos don't:
  3. Dear sound community, As timecode and sync technology is our passion, for many years we wanted to develop easily accessible, short-subject educational videos that break down and explain these modern production elements. Ambient University provides the information and instruction for low budget productions as well as the most sophisticated setups all around the world. Our videos about timecode and synchronization provide in-depth background information, while other videos demonstrate how to use that knowledge in the field. This video library includes step-by-step tutorial videos illustrating external timecode and sync distribution setups with the most commonly used cameras from ARRI, RED, Sony, Panasonic, Canon, etc. Our goal is to continuously develop and update the channel to provide the most comprehensive pool of knowledge on this topic – that's always available in your pocket. We hope you like it and of course are open for new video suggestions.
  4. Good evening guys, Long term lurker, first time poster. Please be gentle. I'm a sound editor and general audio-post guy by trade, and have over the past year had an opportunity to make a somewhat logical step into location sound. I've had a small singleboom, single wireless system and lav - the Sony UWP D-series - but want to add another. I'm wondering if I should go for the same frequency system or not? I'm currently using the 470 to 542 MHz (UHF Channels 14/25) system and am unsure weather to get another system of the same or not. I believe I should get the same range as the manual states the following: "When operating two or more UWP-D series packages simultaneously with different channel groups, make sure that they are at least 100 meters (330 feet) apart if they are used within clear sight of each other (actual distance may vary depending on the circumstances)." Just want to be 100% sure. Hope you can help!
  5. Does anyone know anything else about these new units? http://www.sony.co.uk/pro/products/broadcast-products-professional-audio-hybrid
  6. Hello, I am getting two sets of audio ltd 2020 radio systems and have a choice of either sony or a tram mic. What would you say about them and which is a better value you think? I already have two micron sets with dpa 4060 lavs and so i am used more to their form factor. Which one sounds better with audio ltd systems in your opinion? Thanks, Bartosz
  7. I need to make a cable for a Sony WRT-822- Hirose to XLR Male. Can anyone give me the pin wiring for this? Also, if there are any special considerations to take note of when making this cable that would be much appreciated! Thanks!
  8. I'm prepping to do an outdoor run and gun style reality shoot, and am looking for a good solution to use my SRB recievers on their EX3 cameras. In the past I've done the fanny pack setup, but this show is going to involve a lot of running through the woods, etc and I need something sturdy that won't snag on things so easily. Suggestions? Do brackets for SR receivers exist? I appreciate your input!
  9. Hi, I understand there have been a few topics on these, but I think mostly they've been about using them for recording dialogue etc through mixers and external mics. So here's one regarding the sound quality of built-in mics. This coming February I'm taking a three week trip to Vietnam, Thailand and probably Cambodia in between. Now, obviously I'd love to record all these cool exotic sounds and atmos you find in locations like that, but since it's a holiday, I probably won't want to risk bringing my pro equipment (like a 302), which would attract attention, be a bit heavy and unpractical to carry around etc etc. So it'll probably be handheld recorders. I own a Zoom H4 (not H4n) and a Zoom H2n. What I would like to know is if you know about a recorder you know has substantially better sound quality with the internal mics (signal to noise ratio, stereo imaging etc). Also, does someone have any experience with the Rode Stereo Videomic Pro? I'm also wondering if that might up the quality when recording into the H2n, instead of using the internal mics?
  10. I'm trying to figure out how to record 4 separate audio channels to the Sony XDCam PDW 700. Has anyone done this before? Thanks - Jed
  11. I've been wondering about a few things. First, I've found that when using my 302 with a Rode NTG-3, a Sanken CS3e and Oktava and Schoeps hypercardioids it seems that in most cases (quiet to medium volume interview speech, for instance) I have to set the gain pot on the 302 around three-o'clock to get levels like 0-+12 on the mixer. More or less depending on the mic in question. Is this what one might expect? I assume it probably is, since I would think the possibility of having a defective mixer are fairly low. Second, I wonder if someone knew about the best gain staging when going from 302 to a Sony PMW-EX1 via two Sennheiser G3's. I've found that when setting the G3 Tx's to -42 dB sensitivity and having the EX1 inputs as line levels, you have to crank the EX1 gain pots all the way up AND set the G3 Rx's to max output to get the levels even somewhat matching. I'm wondering if it might be better or worse to try setting the EX1 inputs on mic level and first turn down the camera inputs, then Rx output (if needed) to get to matching levels. The production we're working on is a busy, low budget reality show in noisy places and the DP and I live in different cities so no time to play around and try out for best results so I was wondering if someone had any experience on this particular camera and its audio quirks. Thanks!
  12. Hello everyone. I have a shoot coming up with dual FS100's and I'm stumped on TC for this camera after reading through the manual and searching online as well as this forum. I hope you might be able to assist me. I've been asked to provide TC for the shoot. The issues I run into are as follows: The only TC I/O I can find is that TC can be dumped out from this camera via HDMI. I see no connections for accepting any incoming TC, and the manual does not state that TC can be jammed to the camera so far as I can tell. So, assuming I have read the manual correctly, the camera must function as the master TC generator, since TC only flows one direction: out. If that is correct, how could I ever jam two of these cameras? The options for TC are as follows: REC RUN & FREE RUN, but with no options to jam TC, and the only output of TC being HDMI... It's definitely a scenario in which I believe I have either missed something really simple, and I will be very happy to be corrected and can then move on happily with the shoot, or this is going to involve an education for both myself and the DP/production on the TC capabilities of this specific camera. To be clear, here are the following items I have found from the manual relating to TC. I have tried to be thorough, so that anyone who attempts to assist me doesn't have to then do research I should have first done myself: Pgs. 35 - 37 'Audio Setup': Skipped; no audio to either cam for this shoot. [*]Pg. 44 'Setting Time Data': "The camcorder records movies accompanied by time data, such as time code and user bit." 'Presetting Time Code': [*]'To Reset the Time Code': ​This option resets TC to 00:00:00:00. [*]Pg. 72 'Notes': ​This section gives menu options to set time code between 00:00:00:00 and 23:59:59:24. I see no option or information on how to accept any incoming TC here. "Time code does not advance while recording the color bars." [*]Pg. 74 'HDMI TC OUT' 'Off': ​"Does not carry the time code on the HDMI signal." [*]'On': ​"Carries the time code on the HDMI signal. The camcorder transmits the time code as digital data, not as a video signal to be displayed on the screen. The connected device can read the time code by referring to the data." [*]Pg. 79 'TC/UB SET': Gives options to set REC RUN or FREE RUN, but no options to accept incoming TC. Gives options to reset or set preset based on Pg. 44 info already listed above. [*]Pg. 93 'Troubleshooting': The time code is not recorded in sequence: The TC may not be recorded sequentially if you change the settings of HD/SD SET and HD REC FORMAT. That's it. That's everything in the manual I could find on TC. So if anyone has any information on how to do this, please submit. I have a hunch the answer might be that this device was not designed to accept incoming TC and that it should be treated like a film shoot, but again, I'm looking forward to your answers. Oh, and lastly, I had intended to use a Denecke TS-3, SD 552 and 744t bag setup. Just so you know what connections I'd be dealing with. Thanks!
  13. Well maintained ENG audio kit for sale. Comes in a round Petrol case. includes: Petrol hard boom case, Shure PF33a mixer, 6’6” VDB boom pole with Ktek shock mount, 2 x 195D diversity systems in block 21, 2 x PSC milimics with all the clips and two power supplies for hard wiring, 1x barely used Varizoom S-8056N li-ion battery pack (NP-1 equivalent) with power system to power the mixer and the two 195D wireless receivers, the varizoom dual charger, a great snake with quick release, a couple of 25 feet XLR cables, the standard Sony headphones, the Sennheiser ME66 shotgun mic with windscreen and rycote fuzzy and a carrying strap. Email with any questions. Thanks, Yahel www.yahelherzog.com
  14. Hey all, First post here. Been lurking for awhile and it's a great forum to be sure! I have a quick question. Tomorrow I have a fairly simple gig (yeah I really shouldn't think like that), one actor in front of a green screen. Boom + lav through my 302 to an EX1. I was just wondering if anyone was familiar with the EX1 audio features, does it have a numbered audio meter on the screen so I could calibrate it easily? Or does it simply have those blocks of which you have to know which level is each block? If so, might someone have any info on how it goes? edit: I did look at the PDF manual for the EX1 but either wasn't looking hard enough or didn't find what I was looking for. Cheers! -Karri
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