[Greg Curda]

Hi Bill,

You might try Neyrink Sound Code. You might be able to play back your LtRt, and output as a straight stereo…then there would be no steering issues, I think. Or, if a ac3 is available, or you can rip a DVD of the show, you could play the ac3 back through Sound Code and output as straight stereo. I think this might be possible from a ProTools session.

Any home stereo system equipped with Dolby ProLogic will decode the LtRt to LCRS, so mixing and matching to DVD is not a great idea. I think you might be able to extract the 4 channels with a Dolby DS4e hardware encoder/decoder, but maybe not.

Or, you could remix your new pieces in 4.0 or 5.1, create an LtRt from that, and cut it into the existing LtRt….

I know, I’m a funny guy…this is a tough call, hope i have been even a little helpful.

[Greg Curda]

Thanks, Martin…

I guess it might just be a question of competing specs…Our ac3s are generally encoded on the Sound side via PT and Neyrink, but I do have access to FCP and will review the Compressor documentation for any discprepancies. Thanks again for the feedback…

G

[Greg Curda]

Hi Martin,

Thanks for the response. As far as encoding goes, does it make a difference in the routing? Have been using ProTools with the Neyrink plugin, and it seems to accept either layout, so I just stick to LCR. The resultant channel steering is fine when loading the ac3 into a WD hard drive playout box, and output via optical. Is the DVD spec any different, or an ac3 is an ac3?

Thanks,

G

[Greg Curda]

I know LRC is the SMPTE standard, and LCR is the film standard… Does it make any difference going to DVD???

Anybody???

[Greg Curda]

I have done plenty of multicam shoots and usually there is a cam director looking at all monitors and directing all the cams. For this application Comteks are perfect. They are one way, not duplex. Director calls the shots and cams get the direction, no need for cross comm. They are inexpensive and out of the way of any other RF traffic.

If you really need duplex communication, the Motos could do it. They can be of value in other situations too. Car to car, keeping track of crew, scouting, etc. There are other duplex solutions… I’ve always liked the Anchor wireless.

RE: lavs, there are plenty of fine mics. I like the Sanken COS11, the Countryman B6, Sony 77s, or 88s, and, of course, the DPAs. All depends on your applications, ear, and budget.

[Greg Curda]

I second Ty’s observation about the headphones. You have to train your ear with a consistant monitoring environment, so you know instantly when something isn’t right. For me, there are no other headphones for film and TV work. I carry mine everywhere. I have 7 pair, the oldest of which is 15 years old.

[Greg Curda]

Hi Steve,

I have read through this entire thread and I still don’t know what you are trying to do. Add 2 way communication to your kit? Select new lavs? add an assistive listening set-up for clients?

The Comteks all run on AC and 12v DC. The B6 is fabulous. But I still don’t understand the application…

[Greg Curda]

Hi Nelson.

OMG, why would you need 1 hour? For looping, 2 or 3 minutes is generally enough. 5 is fine. That is, unless you are doing a conceptual piece and want to show the subtle changes in sound of the fan over a long period of time…doubtful. Also the different perspectives of the fan will give you options when you go to different shots. The base sound of the fan should remain constant though to tie it together…

[Greg Curda]

Hi Larry,

The essential point is that most lavs are electret condenser, and as such, require power, not just a connector conversion. This is not true for dynamics. Many mfgrs. make a wireless/hardwire power supply that is well worth the money. I have them for my Sankens. This allows you the flexibility to use your mics in many ways.

G

[Greg Curda]

You can do a basic recording in Quicktime, Soundtrack Pro, and Garage Band…tons of options…