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Found 13 results

  1. 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.
  2. 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 video
  3. 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 th
  4. 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
  5. Does anyone know anything else about these new units? http://www.sony.co.uk/pro/products/broadcast-products-professional-audio-hybrid
  6. 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!
  7. 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!
  8. 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
  9. 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
  10. 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
  11. 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
  12. 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 r
  13. 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 m
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