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  2. The resolver I had didn't look anything like what The Film Group shows, but worth a call to see if theirs would work with your Sony, if they actually have any--maybe they still have rental units. It would be a little surprising if any of that gear was still available for sale in 2017, but back in the day they were The Dudes re sync sound on super 8.
  3. NOMINATIONS FOR THE 53rd CAS AWARDS FOROUTSTANDING ACHIEVEMENT IN SOUND MIXING FOR 2016 MOTION PICTURE – LIVE ACTION Doctor Strange Production Mixer – John Midgley, CAS Re-recording Mixer – Tom Johnson Re-recording Mixer –Juan Peralta Scoring Mixer – Peter Cobbin ADR Mixer – Doc Kane, CAS Foley Mixer – Scott Curtis Hacksaw Ridge Production Mixer – Peter Grace Re-recording Mixer – Kevin O’Connell, CAS Re-recording Mixer – Andy Wright Re-recording Mixer – Robert Mackenzie Scoring Mixer – Daniel Kresco ADR Mixer – Diego Ruiz Foley Mixer – Alex Francis La La Land Production Mixer – Steven Morrow, CAS Re-recording Mixer – Andy Nelson, CAS Re-recording Mixer – Ai-Ling Lee Scoring Mixer – Nicholai Baxter ADR Mixer – David Betancourt Foley Mixer – James Ashwill Rogue One: A Star Wars Story Production Mixer – Stuart Wilson Re-recording Mixer – Christopher Scarabosio Re-recording Mixer – David Parker Scoring Mixer – Joel Iwataki ADR Mixer – Nick Kray Foley Mixer – Frank Rinella Sully Production Mixer – Jose Antonio Garcia Re-recording Mixer – John Reitz Re-recording Mixer – Tom Ozanich Scoring Mixer – Bobby Fernandez ADR Mixer – Thomas J. O’Connell Foley Mixer – James Ashwill MOTION PICTURE—ANIMATED Finding Dory Original Dialogue Mixer – Doc Kane, CAS Re-recording Mixer – Nathan Nance Re-recording Mixer – Michael Semanick, CAS Scoring Mixer – Thomas Vicari, CAS Foley Mixer – Scott Curtis Kubo and the Two Strings Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Tim Chau Re-recording Mixer – Tim LeBlanc Scoring Mixer – Nick Wollage Foley Mixer – Darrin Mann Moana Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – David Boucher Foley Mixer – Scott Curtis The Secret Life of Pets Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Gary A. Rizzo, CAS Re-recording Mixer – David Accord Scoring Mixer – Frank Wolf Foley Mixer – Jason Butler Zootopia Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – Joel Iwataki Foley Mixer – Scott Curtis MOTION PICTURE—DOCUMENTARY 13th Re-recording Mixer – Jeffrey Perkins Eat That Question: Frank Zappa in His Own Words Re-recording Mixer – Mark Fragstein Re-recording Mixer – Marvin H. Keil Re-recording Mixer – Armelle Mahé Gleason Re-recording Mixer – Mark A. Rozett, CAS Re-recording Mixer – James Scullion O.J.: Made in America Re-recording Mixer – Keith Hodne Re-recording Mixer – Eric Di Stefano The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble Production Mixer – Dimitri Tisseyre Production Mixer – Dennis Hamlin Re-recording Mixer – Peter Horner TELEVISION MOVIE or MINI-SERIES 11.22.63: The Rabbit Hole Production Mixer – John J. Thomson Re-recording Mixer – Pete Elia, CAS Re-recording Mixer – Kevin Roache, CAS ADR Mixer – Judah Getz Foley Mixer – Brett Voss, CAS Black Mirror: San Junipero Production Mixer – Adrian Bell Re-recording Mixer – Martin Jensen Foley Mixer – Philip Clements ADR Mixer – Rory de Carteret Sherlock: The Abominable Bride Production Mixer – John Mooney, CAS Re-recording Mixer – Howard Bargoroff Scoring Mixer – Nick Wollage ADR Mixer – Peter Gleaves, CAS Foley Mixer – Jamie Talbutt The Night Manager: Episode 1 Production Mixer –Aitor Berenguer Re-recording Mixer – Howard Bargroff The People v. O.J. Simpson: American Crime Story Production Mixer – John Bauman Re-recording Mixer –Joe Earle, CAS Re-recording Mixer – Doug Andham, CAS ADR Mixer – Judah Getz Foley Mixer –John Guentner TELEVISION SERIES – 1 HOUR Better Call Saul: Klick Production Mixer – Phillip W. Palmer, CAS Re-recording Mixer – Larry B. Benjamin, CAS Re-recording Mixer – Kevin Valentine ADR Mixer – Matt Hovland Foley Mixer – David Michael Torres Game of Thrones: Battle of the Bastards Production Mixer – Ronan Hill, CAS Re-recording Mixer – Onnalee Blank, CAS Re-recording Mixer – Mathew Waters, CAS ADR Mixer – Richard Dyer, CAS Foley Mixer – Brett Voss, CAS Mr. Robot: eps2.8_h1dden-pr0cess.axx Production Mixer – William Sarokin, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS ADR Mixer – Beauxregard Neylon Foley Mixer – Mike Marino Stranger Things: Episode 7 “The Bath Tub” Production Mixer – Chris Durfy, CAS Re-recording Mixer – Joe Barnett Re-recording Mixer – Adam Jenkins ADR Mixer – Judah Getz Foley Mixer – John Guentner Westworld: The Original Production Mixer – John Pritchett, CAS Re-recording Mixer – Keith Rogers, CAS Re-recording Mixer – Scott Weber ADR Mixer – Mark Kondracki Foley Mixer – Geordy Sincavage TELEVISION SERIES – 1/2 HOUR blackish: God Production Mixer – Tom N. Stasinis, CAS Re-recording Mixer – Peter J. Nusbaum, CAS Re-recording Mixer – Whitney Purple Modern Family: The Storm Production Mixer – Stephen A. Tibbo, CAS Re-recording Mixer – Dean Okrand, CAS Re-recording Mixer – Brian R. Harman, CAS Silicon Valley: Daily Active Users Production Mixer – Benjamin A. Patrick, CAS Re-recording Mixer – Elmo Ponsdomenech Re-recording Mixer – Todd Beckett Transparent: Exciting and New Production Mixer – Sam Hamer, CAS Re-recording Mixer – Andy D’addario Re-recording Mixer – Gary Gegan Veep: Congressional Ball Production Mixer – William MacPherson, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS Anthony Bourdain: Parts Unknown (Hanoi) Re-Recording Mixer — Benny Mouthon, CAS Deadliest Catch: The Widowmaker (Part 1) Re-Recording Mixer — Bob Bronow, CAS Grease Live! Production Mixer – J. Mark King Music Mixer – Biff Dawes Playback and SFX Mixer – Eric Johnston Protools Playback Music Mixer – Pablo Mungula Mars: Novo Mundo Re-Recording Mixer – Christopher Barnett, CAS Re-Recording Mixer – Roy Waldspurger Foley Mixer – Jason Butler We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World Re-Recording Mixer – Rich Cutler
  4. Aloha, the Film Group actually made a resolver for your Sony TC-D5M and they called it Sony TC-D5M/Pro11. They modified a standard TC-D5m recorder to accept and include a sync resolver system. You may want to go on line and look up The Film Group. They have published all there products including the resolver. Cheers
  5. Today
  6. Are you using this drive in a 744T with the Sound Devices SATA adapter kit? And the Samsung SSD you mention has lower power draw than the 250 GB disk you removed?
  7. For those looking to upgrade to SSD, I can highly recommend the Samsung 850 Evo series. After my 250GB Sata harddisk suddenly broke down, I replaced it with the 250GB 850 Evo. I don't need a disk that large but the 250GB has lower power consumption than the 120GB model. It has been running smooth for the last 4 months. The biggest benefit was the much lower RF spray compared to the regular drive (about 2 pixels lower on my Lectro scan in the bag)
  8. Just imagine how much more stuff they could blame the soundies for if we recorded the picture too!
  9. The trend has been to make the camera be the recorder of both pix and sound in a "one piece/single system" rig, over many years now, this being considered the most flexible arrangement, with good reason. A camera can be made to be a decent if basic audio recorder (Arri, Sony F55) and can be fed wireless audio by a number of pretty sophisticated systems these days. Picture recording "off-camera" still requires a cable, a pretty stiff and uncooperative cable at that. As I said, this has worked for very specific sorts of setups (esp old-school multicam video), but is probably too inflexible, too hassleous and too slow for what current directors expect, I'd say.
  10. I agree with you. But that dealer or distributor was recommended to me by DPA Denmark. That's true too. I know where the fault is, so they probably will not charge me for diagnostics. What scared me was the price of repair which could easily climb to the price of a new mic if they spend two hours on it. That was my thinking, too. I will research other options.
  11. Could be for block 20 or just uncut.
  12. Is it me or do those antennas need cutting to the correct length?
  13. Thinking strictly bag work. On large productions like commercials or fiction it's obviously totally unnecessary ; there's probably a DIT on set. And usually on those types of productions the post team is a lot more knowledgeable. Where it's be really useful is on small scale ENG productions where you, the camera person and maybe another person is the only team. Usually those kinds of productions have very fast turnarounds and very newbie post team. Very newbie everything, except the sound and camera people... I totally get that it's a niche market, but still. A feature, or even add-in on a mixer. The PIX is great but not handy in a bag. And the union thing, well I'm totally oblivious there.
  14. These are exactly the hooks I need on my cart! Could someone give a hint where to get these? Preferable in Germany. Or Matt, could you please post a close-up of the sticker with barcode and number? Maybe I can find them online that way. Thanks! Edit: Never mind, I found them.
  15. Thanks for the suggestions, it was going to be an option as I have some low profile casters which I use on my other carts that would fit the job. Spinning the cart 90 degrees was also a consideration. My primary reasons for changing my mind were: A. You loose storage space as the rear wheels overlap the rack area (even if you put them below as it raise the working surface height by 12") B. Weight distribution would be "compromised" when tipped back on the larger rearwheels (if the short tide was the back) in so much as it would more likely tip/fall to the side when in motion. This could be fixed make the cart square in size thus increasing the distance between the wheels but then the compact design concept is lost. I may change my mind during prototyping of course as it maybe the solution to a problem yet unknown. I have come to realise it is all a compromise... I'm not familar with Greg Sextro's cart - has it been covered on JWS? I guess the reason why many carts look similar is that the requirements and practicalities are pretty strict (19", strong box design, needs handles to push etc.). All my design have taken influences from many sources - including those in the JWS gallery - and then I have tried to add a unique spin Yes I agree with everything you have said. The casters will definitely be an option (trying to keep as low a entry price as possible) To allow the drawers to open at the front rather than the rear (as shown above) the sliding shelf needs to be able to go above the rear handles which the current design would not allow. The next design change will be to raise the front uprights to the same height of the rear ones. This will allow the sliding lid to be placed and secured centrally if desired or slightly off center if you have nothing particularly heavy. I have also considered splitting the design but the realities are that you loose overall strength - not a huge amount but some - but more importantly cost! As I mentioned above it is all about compromise. Would the extra cost be "worth" the gain. Let me know!!
  16. I've had microdots fail. Just happens. They replace them if under warranty.
  17. Damn it Wyatt, you've implanted some great idea's for a redesign of my next follow cart. I was this close to having it sorted. For me front castors are a must. When wheeling my cart any real distance tilted back, it is a strain on my forearms. As soon as it's on smooth ground on all four weals it's a blessing. The follow cart is mainly going to be moved by a boomie, who I would rather have use their muscle energy for the important business. Really dig the front cover that slides to be a shelf but without legs I would worry about it tipping. Is there any way you could simply unscrew it and then mount it centred on top so as to have an even centre of balance. I have been thinking of work shelves that slide out on the sides for this reason. For me the other thing is I want to be able to split the cart in two. Last job involved a lot of stairs and I live in a four story walk up apartment. That and I don't want a van, I've got a Mazda cx5(? toy SUV) So everything has to be as compact as possible. Look forward to seeing what you come up with Matt.
  18. I think if I were given the responsibility of the picture master and sound master, I'd want a lot more money!!
  19. It's a nice offer but an SLP won't help you--it only worked with Nagra IIIs (and nothing later). I had one for my Nagra III and it worked pretty well, but not as well as the SLO did on my 4.2. I was very chagrined to find that I could not use the SLP with my IV and 4. type Nagras...
  20. Also a nice idea! Thanks. You are right about the customers for this. Low budget indie makers. I was using it because I was trying to operate as a one-man band--shooting film and recording sync sound, and could not afford a Nagra SN. I needed something smaller than my Nagra 4.2 to lug around on the shoulder opposite the camera. Thanks, Jon G. I had to look up the SLP. I only knew the SLO. I have borrowed a 4.2 from a freind that has the internal circuit, so I'm good on resolving from a Nagra. P.S. Much as I love the machines, I am glad we are now in digital audio world. And glad not to have to carry a Nagra 4.2 anymore.
  21. this is the plate my friend uses. I also use rubber straps in addition to the Velcro. 100% secure running and gunning. 2.75 in by 5 in 5.5in by 5in there is even a bigger plate but I don't know the dimensions.
  22. The TCD5 version with pilotone and the resolver was made for indie movie production, so it's unlikely any radio (or TV) folks ever bought one. Even at the peak of interest in this device (in the early '80s) I have trouble believing there were ever more than a few hundred in circulation. If you really have to have one of these I'd check in with the older East Coast audio places, although they probably would have house-cleaned this stuff long ago. It could be as simple as doing a playback of each clip with an output from the 60 Hz channel feeding a freq counter, which you observe while trying different varispeed settings, then copying off the "speed tuned" clip when you get the 60 Hz tracks to read 60. Hopefully your deck was in good shape and running in a stable manner when you recorded the originals!
  23. Thanks, Jay and Phil--I was thinking about this way and I reached out to Frank Cook, who teaches Pro Tools courses for Digidesign. I thought maybe bringing the audio and the tone track in together as a stereo track, then manipulating the track with Elastic Audio in Pro Tools so that the waveform of the 60 cycles matched a a grid. He said there is no automatic way to do that, but suggested using Elastic Audio to stretch or compress as needed, for lip syncing. Jeff Kreines suggested re-recording the material to a Nagra, plugging the 60Hz tone into the Pilot In, then playing back from the new 1/4" dub and letting the Nagra's internal resolver do the work. Sounds like a good idea. There is one other option, besides manual syncing it all. The Film Group still manufactures hand-made resolving boxes and modifies cassettes players. So if I want to spend a little money, they could mod the cassette player so their resolver would control the playback motor.
  24. You can do all that now with an SD Pix recorder--I've done it on lots of multicam etc jobs. For me--I don't want to go back to tending the video recorder again, as in the days of 3/4" or Betacam decks.
  25. Hi, Any tips on getting my Wingman dongle to work. Can't find it on my iOS devices. All software and apps running latest firmware/updates inc. 688. I can't get it to work via CL-12 either. Has worked before but not any longer?
  26. Hi, Any tips on getting my Wingman dongle to work. Can't find it on my iOS devices. All software and apps running latest firmware/updates inc. 688. I can't get it to work via CL-12 either. Has worked before but not any longer?
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