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Recorders, Uncategorized

Tascam DR-60D: Problem Solved

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dr-60d_p_user

As mentioned a couple of months ago in an August 21 article posted in Trew Audio Flow (see the article here), we discovered a problem having to do with noise being induced into the Canon 5D-MkII camera when – and only when – attached to the DR-60D. The amount of testing that could be done was limited by Tascam not being able to deliver more DR-60Ds at the time (they were between production runs). However, other customers responded to the report, saying they had the same problem with their DR-60D and 5D-MkII setup. So it may well be a consistent problem with earlier DR-60D recorders.

Sound Devices XL-B2 Battery Pack
Articles, Production Life

Are You Ready to Go Back to Work?

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Back to Work

Summertime, and the living is easy… but as always, that’s about to change. For many in the world of Television production sound, late spring/early summer is a much needed time of rest (called “hiatus,” in the industry, usually a couple of months) that comes between the wrap of the prior season and the beginning of the next. The 16-hour days, week after week, take their toll on us, but it is also brutal on our equipment. In addition, trends change, equipment advances, and we should always be refining the way we work. But whether you work on television series, feature films, reality TV, commercials, news, or whatever, my advice is the same: after some much needed rest, when cabin fever sets in, remember that continued success depends on being prepared. Here are some ideas to help you get ready for the next run.

Cable Techniques RX Emergency
Production Stuff, Wireless

WiFi Timecode – The Time Has Come Today

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Denecke Timecode Buddy Prototype

In the late 1960’s, the Society of Motion Picture and Television Engineers (SMPTE) adopted longitudinal timecode (LTC) as a method of making video and audio match. Timecode is the industry standard frame numbering system that assigns a specific number to each frame of video in the format of hours, minutes, seconds, and frames, while recording the same number on a corresponding audio track. And though there is a profusion of different frame rates, not that much has changed – both sound and picture people need a highly accurate clock to generate a starting point for all parties to reference. But what has changed is the way in which we manage timecode.

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