[Craig Alan]

Thanks Claude, what did you use to get stills out HDMI? I can get video out using a black magic breakout box (thunderbolt out the mac) but it only works with video. I asked black magic when I first set it up and was editing with aperture and a broadcast monitor but they weren’t interested.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Blaise. So none of the affordable projectors would be adequate to the task? The prices I see for 4k are all over the lap from under $10,000 to well over $100,000. The difference being the Lumens count and the lenses. I had two reasons I was looking for a projection rather than green screen. One is you can compose your shot knowing what the background looks like rather than adjusting it in post and second I was experimenting with using the projection as a light source. It also sets the talent in the world of the projection.

I’m going to bring in my old kodak film projector and some old slides and see what its capable of. If it does the trick I’ll think about using my old minolta or maybe buy a Canon that uses the same EF lenses as the 5D.

They are selling used for really low prices.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Well never got their samples but the rolls i had in the studio were shurtapes in black and they are fine for a single shoot and then remove. but for longer periods they end up leaving sticky residue like most tape does. for example when i’ve taped the end of an interconnect to prevent it from coming loose during shoots.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Richard,

I went with the K-tek classic stage poles. It allows me to run any xlr cord through the pole internally without having to learn Soldering.

The top screws off allowing you to put the xlr through the pole. and the other end comes out the bottom side of the pole to go to the boom op’s headphone amp. Easy to replace and re-configure with different lengths.

Also ordered the boom box which is an overpriced apple box with the center cut out so you can rest the pole in this cradle when taking breaks and then use it as an apple box during a shoot. Nice design.

I also went with the Rolls PM55P so the boom op can monitor but not effect gain to mixer. The stage poles are graphite and 4-5 sections. Looking forward to using them.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

I have footage where we couldn’t stop the noise coming through the hvac vents even when we turned off the thermostats. Kind of a fan hum airstream. The audio is all dialog. I don’t want to hide the b.g. noise with a music soundtrack . Does this plug in work good for that type problem?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

No doubt I could save some money if I could learn how to make my own. But I was referring to the duplex kits that include the boxes for both the audio tech and the boom op. along with headphones with mikes and the pass through boxes and so forth. I was getting quotes for several hundred dollars compared to $80 for the rolls PM55P.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks Eric,
I was considering this but ran into a couple of limitations to this solution. Th duplex cables are relatively expensive. I would go that route if it added significant production value for our use.

It also increased the weight of the cable going to the mixer and I have three teams moving on every shot and the XLRs require quite a bit of cord management.

The passive box for audio tech is needed anyway The only one I see around

(please suggest another if you know ion a better one)

is the Rolls PM55P. all the others seem to have gain control for the actual feed to the mixer which I don’t want.

Once I have the Rolls I don’t see any advantage to the duplex because I want the boom pole operator to be listening to the audio from that single boom not the mix that the audio tech is sending to the camera.

The camera op and audio tech will already be monitoring the soundest and arriving at the camera. If I were to use a snake it would be between the split headphone out the camera to the mixer which does have the ability to monitor RTN.

I know on larger scale productions and higher end mixers with more inputs, the duplex cables will allow headphone communication between the head audio tech and the audio boom pole operators. But our SD 302s don’t allow for this AFAIK. If this could be done I’d get duplex kits for a three camera shoot when we shoot live events rather than our short form movies.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Well there isn’t now. Thanks. Just wasn’t sure about the stereo vs mono.

Many years ago I ordered some kind of adapter cable that ended not working due to a mono or stereo plug where we needed the other. Don’t remember the details but remember wondering why it wasn’t working.

Anyway I’m ordering 5 of these and looking forward to using them. I looked into other solutions and they were way more expensive and added features I was trying to avoid. Surprised there isn’t more choices for this obvious need.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Good to know.

What’s your take on the ‘Audio-Technica System 10 or Rodelink Wireless system?’ thread below?

Is this the wave of the future or are the G3s still a solid pro starting point for wireless kits?

If I were to get a couple of higher end kits, what would you recommend?

Other than better reception and being less prone to interference is there a noticeable difference in audio quality as you move to the next level of quality.

We get very manageable reception and signal strength in the studio and surrounds.

Occasionally I have to pick a new channel as something new is in the air causing static.

I have countryman’s lavs for them. And E-6s. And a plug on with phantom. The countryman made more of a difference with the G2s than G3 but better than both.

I also use the kits for wireless connection between mixer and camera.

With this years budget I’m getting high end k-tek graphite boom poles and pm55 so the boom ops can monitor.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[Craig Alan]

Thanks I heard that they will be bidding off another set of bandwidths and was wondering. And the thread below Audio-Technica System 10 or Rodelink Wireless system? had me wondering.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.