Brian Reynolds
Forum Replies Created
-
There is a very active group on FaceBook that might be able to assist you.
Do a search on FB for ‘Zoom F8+F4’ -
And you paid her for her services?
So if you have what has she learnt…. Hand up rubbish and still get paid full rate. -
The question should be asked, why do you need phantom power?
What is the mic signal going into? Mixer, Camera or Recorder? Many of them would already have phantom power inbuilt, if not chances are the input would be unbalanced and that adds a lot more problems.
Keep in mind that many of these external phantom power supplies use a plug in ‘wall wart’ power supply and are not battery powered.
If you need an external phantom power supply, maybe a different mic model would suit better for your needs. -
You can sync from ANY time code generator….. Just pick the one you want to call ‘master’ and therefore ALL the others are slaves and must take the code from that master.
In the ‘old days’ often camera to camera was used to sync (again one master and the others are slaves) often no audio recorder was used, the audio was just split across the many camera audio tracks available.
I have even done shoots where the cameras started in different locations / cities at the start of the day, what we did was set the time code the same as the time read on a Telco dial in service. And yes there was a difference of about a second or so between cameras… BUT that difference was constant for the entire day, a simple ‘offset’ for that camera was entered into the timeline during editing…. simple.
The drift people refer to is (PER 24 hr period)…. shoot for 12 hrs the drift would be half of the errors of a 24 hr period. Shoot for 6 hrs then that would be 1/4 of 24hrs. etc etc.
Im only suggesting a 2m cable as it will fit neatly into a case or bag.
Just something else if you have a crew logging the shoot then all they need to use is a standard wrist watch to quote a Timecode time. The time code will be or should be set to ‘time of day’.
-
Some contents or functionalities here are not available due to your cookie preferences!
This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
For the job described Genlock is not needed as you are NOT switching live………. Forget the word and every thing to do with Genlock with this job.
Time code is what you will be using…. All you should need is a cable of of less than 2m to join one camera and the 633 for 10 seconds…. then jamb sync the 2 devices, then use that same cable to jamb sync the second camera, then the third camera etc etc etc.
So TC out of the 633 to what ever the TC in (on each camera)
The cameras will then run on their OWN internal TC clocks…. Which will match the 633 as they have been jambed.
This should describe it better if your cameras have no TC or you want to use an external device to sync them.
https://www.tentaclesync.com/#hardware -
The camera/s you have mentioned and the Audio recorder all have timecode generators in them…. Just pick one as the standard. Even if its wrong…. ALL the devices will be wrong in the same amount (causing no problem)
My suggestion is the audio recorder 633 and this will not change during the entire shoot where as the cameras may stop / start or do fancy camera stuff which may upset the TC stability. So use the 633 as the ‘Master clock’ and everything else MUST jamb to it.
You don’t need a constant feed the cameras, jambing twice a day should give much less than 1 frame error (per day) over the entire system.Do tests …. several, to get your head around things, don’t just turn up on a job and try and work it out…..
‘Celebrating 40 years of Broadcasting Audio….
Started with Magnetic stripe and Sprocket holes to now Gigabytes and Touch Screen Mixing Consoles’…… -
Timecode and Gunlock are 2 TOTALLY different things…..
Timecode is a ‘number stamp’ on each frame of media (just like the old 35mm film) the numbers are ‘normally’ 24hr clock time in hrs / minutes /seconds / frames different shoots often use different frame rates so ALL the units being used should be set at the SAME frame rate.
Normally one device is regarded as the ‘standard’ and the others should be jambed to that unit occasionally, The audio recorder is normally used as cameras will change when many camera options are used like slowmo.
There are small devices like ‘Lockit’ boxes or ‘Tentacle’ boxes are jammed to the ‘standard’ and then attached to the cameras to supply a continuous feed of code.
So now you will have the ‘same set of numbers’ on each set of media all you have to do is match them on the time line of the editing.Timecode is an Identification system NOT a locking system.
Genlock IS a locking system that is used when signals from multiple cameras are switched ‘LIVE’ just like a TV studio or Outside Broadcast Production through a switcher. Genlock is there to stop a frame roll on each camera video change.
So a camera will use 2 cables attached, the first one is the signal from the camera to the switcher and the other is a cable that times / aligns the control signal. (and yes those cables should be the same length)
There are video switchers made that don’t need Genlock and no need for a return to camera cable, this switchers have a frame store on each video input and will allow input from ‘NON sync’ sources.Ok my descriptions of both Timecode and Genlock are of a basic nature as a general overview, and should be treated as such.
‘Celebrating 40 years of Broadcasting Audio….
Started with Magnetic stripe and Sprocket holes to now Gigabytes and Touch Screen Mixing Consoles’…… -
Alright you have reached a level of phantom powering on a Tx unit, you can go probably one of 4 ways….
1. External power supply to give the microphone (416) the powering it needs to operate and then that get plugged into the Tx unit.
Yes it works, BUT there is an extra ‘box’ to deal with that holds the battery / s needed to get the 48v and often cumbersome..
The extra cost.
If you are using it on a boom pole then this may not be a problem just attach it further down the pole. This way you may want to add a headphone monitor unit for the Boom Operator.2. Purchase a compatable Tx unit with your current system with ‘phantom power’ in the electronics of the Tx.
Quite often these don’t come cheap especially for the Sennheiser systems.3. Purchase a complete new system that is capable of power 48v phantom mics.
Depending on what $$$$$ are available have a look at the ‘Rode Newsmaker kit’ or the Sony UWP-D16 system or going further the quality ladder the Sennheiser or Lectrosonics systems.4. Purchase a microphone that has an internal battery, most microphone makers do them but they won’t sound as good as a 416. So depending the need this might be an option.
Just a note the Rode NTG2 has a poor s/n (has lots of hiss on its low output level)So depending on what you are doing and how your doing it there are options….
-
When you pause the clips its amazing what you can see, in the first clip you can see the mic clearly at about 1:20 altho I feel the mic is positioned a little to low down on her jaw.
Clip 2 you can see the mic clearly from :27 – 1:00 and further on at 10:18 you can clearly see the transmitter clipped to her pants.