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Found 12 results

  1. I just finished my DYI slate handle for my Denecke slate. We have had a lot of rain in California so I finally completed the project. I had more time than money! There are additional posts on the topic in Manufactures & Dealers, but I my case this is a DYI project. Tools used: Drill Press, Drills, Counter Sink Bit, Hacksaw, Files, Tap and Die and a Belt Sander. Materials used: Scrap Aluminum, 2- Flathead Screws, 2- Roundhead Screws, Sandpaper and Lay-out Fluid. Note: I did bore 2 small holes to mount the handle to the slate, using the original Denecke hole spacing (not seen in photos).You can see the layout lines and hole spacing/placement in the bottom image. Mark
  2. Hello all, Have a look at my mod for the Denecke TS-C slate. This gives the slate the ability to take 4 pin Lemo. This will prevent the camera dept. From taking the position that their menu selection for time code is just fine, "It must be your mixer,cable, etc." . Let me know what you think. If anyone likes this, I can modify your slate. I really want thoughts here, not yes men. Where is Senator Mike?
  3. Thought I would post here since I'd love to pick up some non-union sit-in and referral jobs in the Los Angeles Area. I've been mixing full time for 2 years and have a couple cable TV features under my belt, among a multitude of corporate and commercial work. I'm also comfortable swinging it or being a utility. I have a small Nomad 10 follow cart for narratives and a 302 bag for smaller OTF and sit down interview jobs. 4 channels of Zaxcom wireless (3 lavs and wireless boom), and 3 ERX IFB. Additionally, I have 2 Wisycom wideband channels with the assortment of COS11-D and DPA 4060 mics. If anything, feel free to refer low-no jobs so I can bid up the equipment and labor rates. I'm going broke turning down these $350/12 all in jobs, but I figure it's time to step it up in educating production about what they can and cannot afford with their budgets. Thanks for reading, and have fun out there!
  4. 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
  5. Just bought a CMIT5U and am getting ready to use it in conjunction with a Denecke PS1a power supply and a UM400a transmitter. Is there a distinct wiring configuration I need to use for the boom cable itself? Redding Audio's site says: "Special care must be taken if the CMIT 5U is used with an external phantom power supply going unbalanced into a wireless bodypack transmitter - pin-3 must be decoupled from the powering and pin-1 must remain connected. (Keep pin-2 hot and pin-1 GND)." Am i mistaken, or does a phantom power supply not only supply power across Pins 1 and 2 anyway? What am I missing? Any assistance would be appreciated. Thanks!
  6. So I have been following very closely the development of that miracle 'all together' metadata protocol from various companies, and after the release of the new products from Ambient, TimecodeBuddy and Denecke, i believe a discussion is in order, hopefully even with a bit of input from the manufacturers themselves. So firstly we have a the TimecodeBuddy system. Some of you already using it, and apparently quite robust (900mhz and 2.4g transmission). Now they partnered with MovieSlate and Denecke. I love the fact that you can send metadata to the slate and other MovieSlate apps, but I don't see any integration with any recorder yet. I have been playing with MovieSlate recently, and although more complete than the CL-wifi or WaveAgent in terms of sound report creation, it lacks control of the unit and/or inputing of metadata directly into the files. I don't know how important that is for you or editors, but i like the fact that when inputing metadata on any of the Sound Devices apps, it adds this metadata directly to the files, not just the sound report. It means that if the sound report disappears, you can still create it back from the files. Also, it means entering scene and take only on one unit (we know sometimes we barely even have time for that!) And then in Ambient. Obviously their lockit boxes have been around for a while and we can agree they do their job exceptionally well. And now they have integrated ACN into all of their products. Again this means sharing of metadata over wifi, from the app, to the slate and to the receivers. But (just on paper for now) they are talking about an app that can not only input metadata and notes into the network while creating a sound report, it will also be able to control the sound devices 788t and input metadata directly. Also they have teamed up with Arri and are claiming compatibility with other cameras too. I guess there is no real question here, more of a 'what do you think of each' 'which one would you go for'? It's a bit of a shame again we have a war of formats, rather than a collaboration to achieve integration, but then again it is an industry and not a charity. Any comments on the systems, corrections or speculations are welcome and so is any 'extra' info the manufacturers want to add to convince us Hope all of you have a big post-NAB hangover... as I couldn't get one Best Diego Sanchez
  7. Hi Everyone, Just for fun, we are giving away one free Versa-Flex pouch for your slate! The winner will have a choice of a TS-C or TS-3 pouch (TS-3 pouches can also be used to house TS-2sb slates). All you have to do is like or comment on our FaceBook status by midnight (PST) on Tuesday, March 11th. The winner will be announced after noon (PST) the following day, so please check back then. So head on over to: https://www.facebook.com/pages/Denecke-Inc/123026331087593 Good luck!
  8. I am on a Live event shoot and we need all of the cameras to be in sync for Multicam editing(no sound). The DP wants to roll the cameras at 59.94fps. I will be mounting Denecke SB-T lockit boxes onto the cameras. 1.Is it possible for the RED to record video at 59.94fps, while also stamping the file with a 29.97fps timecode from the SB-T? 2. if it is not, what is the best option to be able to make sure all of the REDs are in sync with frame accuracy? 3. Also, the video is being recorded in Camera, and NOT live streaming, do I need to send the Cameras GenLock? Thank you Jordan
  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. OK, so, came off a set last week. I'm angry at the DP. I'm angry at the camera. The DP for being a douche and calling me unprofessional for not owning a smart slate (apparently, a "real" professional owns one), and the camera for its inability to hold a time code (RED ONE MX). So, now that I am thoroughly pissed off, I am thinking of buying that slate next week, just to pummel the DPs face with it. What would you guys recommend? I see the Denecke has more heft than the Ambient, so is bound to make a greater impact. But in all seriousness, I think the Ambient ACD301 RF looks super tasty, but it's not cheap and I haven't seen it in use very often (at least not in the circles I run), or the Denecke TS-3EL which I have seen more of (albeit run down), but don't have the same expandability as the ambient system.
  11. Hi Everyone, After 6 1/2 years of being cramped in our current location, Denecke is relocating! The good news for you locals is that it's not too far from our current location. In fact, we will be just around the corner from the Santa Clarita Studios. Effective Monday, July 16th, our new address will be: Denecke, Inc. 25209 Avenue Tibbitts Valencia, CA 91355 Our phone and fax numbers will remain the same. Also, please note that to allow time for us to move, our office will be closed on Friday, July 13th, so please mark your calendars and plan accordingly. Best Regards, Charlie
  12. Dcode® GR-2 Time Code Generator is now available! February 2012 - Denecke, Inc. is pleased to announce the release of its latest master time code generator, the Dcode® GR-2, which replaces the GR-1. The GR-2 reads, generates and jams to all the standard frame rates including 23.976 for High Definition Video. The Timecode I/O is on a 5 pin Lemo connector. An additional Timecode output is provided via a BNC connector. The temperature Compensated Crystal Oscillator (TCXO) ensures low drift. Please contact your Denecke Dealer for more details. High stability, ease of use and Denecke’s reputation for manufacturing high quality products make the GR-2 a welcome addition to any sound package.
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