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664 LCD screen outdoors


Derek H

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At the risk of stating the obvious, the screen (or at least the meters) appears noticeably brighter if the "track names in meters" are turned OFF. I don't particularly like it, but that's what I revert to when outdoors.

Tom

Using firmware v1.04 on my SD664 I notice no brightness level change on the LCD when I toggle the track names off and on. Unless i'm doing something wrong it is ineffectual.

 

Kent

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Just finished a two day reality shoot in AZ las weekend and the SD 664 screen was very difficult at times to view even with the LCD brightness dialed up to 100%. Sometimes a challenge even with overhead fluorescents in a shop / warehouse. Hope SD can get this issue resolved without the need to send in the unit for repair.

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Not had any great problems with visibilty

 

Shade the recorder with your body if need be

 

Have advised SD that the gain preset knobs white indent is hardly visible

also that the rec/play button needs serration round it's edge so that you can feel it

 

Was recording on a ferry recently and found that in using the slate mike it just overloaded

and caused an oscillating noise that was of no use at all

 

Otherwise love it so much

 

mike

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Just throwing this idea out there.

Why not inverse the colour scheme of the display to create a Direct Sunlight display option. Everything that is black on the display right now become whit and everything white become black.

My Garmin GPS does this automaticaly at night or im the mornin so it can be easier to see in the bright light of the day or dark of night.

Looks like Sound Devices thought my idea might work!!

Check out the latest firmware update from Sound Devices to try it out.

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Nobody can make a sun-proof color display.

Those jumbo video monitors at baseball parks now are amazing!  Clear, full color, deep, hi resolution even in full direct sunlight.  I don't know what kind of technology it is, but I suspect it is massively expensive.

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Those jumbo video monitors at baseball parks now are amazing!  Clear, full color, deep, hi resolution even in full direct sunlight.  I don't know what kind of technology it is, but I suspect it is massively expensive.

Millions of high power LED's hooked up to big copper cables, hooked up to Hoover dam. The biggest ones weigh 100 tons.

Larry F

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Not had any great problems with visibilty

 

Shade the recorder with your body if need be

 

Have advised SD that the gain preset knobs white indent is hardly visible

also that the rec/play button needs serration round it's edge so that you can feel it

 

Was recording on a ferry recently and found that in using the slate mike it just overloaded

and caused an oscillating noise that was of no use at all

 

Otherwise love it so much

 

mike

Good ideas.

 

I want to be able to keep my list of scene names when changing to a new Quick Setup.

 

philp

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Millions of high power LED's hooked up to big copper cables, hooked up to Hoover dam. The biggest ones weigh 100 tons.

Larry F

And a little big!  Yet, I have never seen a scoreboard near Lake Mead... I was only semi-serious.  I was curious about the technology.  The power demands must be enormous...unworkable in a small solution at the moment.  

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Yes!! - "gain preset knobs white indent is hardly visible"

 

I presume you are talking about the Silver knobs?  I never liked them on my 442 and couldnt believe when I saw them still in use on the 664!!

 

white on silver - bright on bright? ???

 

the white mark on the black knob makes perfect sense because there is contrast between them!!

 

I would love to replace the silver pots with better ones if anyone makes them?  Though it would have been nice if the new 664 had come with the solution!

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I see a lot of complaints about this nob issue.  It does not matter what position the knob is in, what matters is mic position, and using your PFL's to set proper input levels.  You determine how it sounds by using your ears not where the line on knob is positioned.  The knobs will never be in the same position when changing sources and locations, mics and so on.  Signal to noise ratio and proper gain staging is what to concentrate on.

 

You guys are fussing over something that has nothing to do with the sound recording.  

 

Rob

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I see a lot of complaints about this nob issue.  It does not matter what position the knob is in, what matters is mic position, and using your PFL's to set proper input levels.  You determine how it sounds by using your ears not where the line on knob is positioned.  The knobs will never be in the same position when changing sources and locations, mics and so on.  Signal to noise ratio and proper gain staging is what to concentrate on.

 

You guys are fussing over something that has nothing to do with the sound recording.  

 

Rob

Dude...it DOES matter what position the knob is in--the indent is there for a quick visual check when you are monitoring a full mix of a bunch of inputs.  Knowing for sure where your gains are set is the essence of the "recording" part of location dialog recording.  Sure, Sharpie, nail polish, whatever; how about fixing it the right way?  An while they're at it, do what Mike West says and make the edges of the "record" knob/joystick serrated so you know by feel what you are touching, w/o looking.

 

philp

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I agree, it does matter to see where the gain knob is, so you can set the levels based on how loud you expect it to be before shooting..

One of the first things I did was not nailpolish, but just a black waterproof marker:

 

 

What is the advantage to the mono WAV format support?

 

The advantage of mono wav support (though offtopic) is that you can make much longer recordings because every track can now be 4gb rather than all tracks in one file. And some post people prefer mono tracks over poly.

 

And Larry F was right about "If black washes out on white, white will wash out on black." The only difference is that red is better visible on white, but the green is better visible on black. So which color scheme to use depends on how hot your signal is... That said, the option for solid bars does improve visibility on both color schemes.

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As was said, the mono file thing is really important for long long rolls, which happen with some frequency in docs  and music work.  There are also workflows in every part of video audio that want mono files for various reasons.  For instance I might want to send just the boom track of a scene in a doc to a transcriber, but was doing a mono mix or a blended 2 ch mix for the cameras.  Also, it means that the files come up in post labelled with their track name right away, without having to crack a poly (which still flummoxes a lot of editors).

 

philp

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