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Found 5 results

  1. I have a Sound Devices 302. When I plug into the video camera via my umbilical I send tone and adjust the level using Line input and Manual on the camera. I reset my 302 to defaults to be sure. Now I have worked with a few Video cams and many you cant actually get a detailed dB level view, just red bars of danger at the end. On most modern video cameras even if the level on the camera is on 10 (max) my tone does not reach the red, I can get it maybe 3/4 of the way. On a Panasonic HPX370 winding the levels on the camera past 8 gives me no more signal. Am i understanding it all wrong? I guess it gives me extra headroom for when i fall asleep which is not a bad thing. If Im sending a line signal to the camera will I introduce more noise by cranking the cameras input levels up all the way? Ive not had clipping issues and no one has whined that my signal is not hot enough, I was just wondering?
  2. The left channel is interrupted once for 250 ms every 4 seconds. 250 ms later the right channel has two interruptions of 250 ms spaced by 250 ms. Graham's Line Ident Tone System (GLITS) is a test signal for stereo systems devised by BBC TV Sound Supervisor and Fellow of the IBS Graham Haines in the mid 1980s. It comprises a 1 kHz tone at 0 dBu (- 18 dBFS) on both channels, with interruptions which identify the channels. This arrangement has an advantage over the EBU stereo ident tone in that each channel is explicitly identified as belonging to a stereo pair. The EBU Technical Document Multichannel Audio Line-up Tone (Tech 3304) defines stereo lineup tone has having an interruption in the left channel only, lasting 250 ms every 3 s. There has always been debate about the expansion of the GLITS acronym. Graham Haines has been asked and says that the acronym was actually invented by Ray Angel (formerly BBC Senior Sound Supervisor in Television Studios, heavily involved in the development of stereo techniques in TV in the early days) and expands to: Graham's Line Ident Tone System. From Institute of Professional Sound (IPS)
  3. I just finished working on a short film where I had to rely on lavs much more than I have previously (many wide shots and noisy locations). I've always based the positioning of lavs on the individuals clothing, body build and movements, trying to find a place that was free of clothing and cable noise, without having it sound awful (usually when they turn away their head or it's too close to the throat). As such, the tonal differences between actors could be quite big (sometimes unavoidable because of what they wear), but it's never been much of an issue as they only served as a backup to the boom. For this project then, I started to think more about consistency of tone when it came to the lavs, and I was wondering in what degree others let that affect their choices? Do you try to get the same tone between actors (which often means similar positioning and possibly the same model of lav), or do you trust that it will be fine with some EQ in post?
  4. 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!
  5. I will be doing a shoot this week with either a 60D or an EX3. Looking through the EX3 manual I see pics of the on-screen audio meters, but they seem to have no markings. Where on the meters do I wanna see my -20dBFS tone? Looking at the 60D manual, there is NO mention of audio in. Anyone have experience putting scratch on a 60D? Many thanks, B
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