Jeff Wexler

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About Jeff Wexler

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    Santa Monica, CA USA
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    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  1. You're right, JBond, it is the same machine (model) I used on "Clifford" but my memory is a little fuzzy whether that was the only movie I used the StellaDAT on. It certainly was the movie that made me abandon the machine for any future use. There were lots of things to love about the StellaDAT but the things that were wrong were so wrong, could not be fixed or corrected, finally killed it off in our world.
  2. For what it is worth, I had the Blackmagic duo and I didn't really like it very much, wound up with the Marshall duo on my last job and I really liked it. The main thing about the Blackmagic was the lack of easy local control --- this may not be the case with the Blackmagic model you mention, but the one I had there were no easy front panel controls like the Marshalls.
  3. Wow!
  4. Thanks, Rob, "Urban Camo", nice!
  5. Looks good! What's with the camo pattern on the wheels? Never seen that be before.
  6. Beautiful!
  7. So many Emmy categories — wow! Congratulations to all with special shout out to my friends and fellow workers: Philip W. Palmer, William Sarokin, Bob Bronow, Chris Durfy, Roger Stevenson, Brendan Beebe, Mark Hensley, Stephen A. Tibbo, Ben Patrick, and Bill MacPherson. Complete List below Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour) Better Call Saul • Witness • AMC • Sony Pictures Television and Gran Via Productions Larry Benjamin, Re-Recording Mixer Kevin Valentine, Re-Recording Mixer Philip W. Palmer, Production Mixer House Of Cards • Chapter 53 • Netflix • Donen/Fincher/Roth and Trigger Street Productions, Inc. in association with Media Rights Capital Nathan Nance, Re-Recording Mixer Scott R. Lewis, Re-Recording Mixer Lorenzo Milan, Production Mixer Mr. Robot • eps2.8_h1dden-pr0cess.axx • USA • Universal Cable Productions and Anonymous Content John W. Cook II, Re-Recording Mixer Bill Freesh, Re-Recording Mixer William Sarokin, Production Mixer Paul Drenning, ADR Mixer Stranger Things • Chapter Eight: The Upside Down • Netflix • 21 Laps Entertainment and Monkey Massacre Productions Joe Barnett, Re-Recording Mixer Adam Jenkins, Re-Recording Mixer Chris Durfy, CAS, Production Mixer Bill Higley, CAS, ADR Mixer Westworld • The Bicameral Mind • HBO • HBO Entertainment in association with Kilter Films, Bad Robot and Warner Bros. Television Keith Rogers, Re-Recording Mixer Scott Weber, Re-Recording Mixer Roger Stevenson, Production Mixer Kyle O'Neal, ADR Mixer Outstanding Sound Mixing For A Limited Series Or Movie Big Little Lies • You Get What You Need • HBO • HBO EntePargtea5in1ment in association with David E. Kelley Productions, Big Little Lies • You Get What You Need • HBO • HBO Entertainment in association with David E. Kelley Productions, Pacific Standard and Blossom Films Gavin Fernandes, CAS, Re-Recording Mixer Louis Gignac, Re-Recording Mixer Brendan Beebe, Production Mixer Fargo • Who Rules The Land Of Denial? • FX Networks • MGM Television and FX Productions Martin Lee, Re-Recording Mixer Kirk Lynds, CAS, Re-Recording Mixer Michael Playfair, Production Mixer Michael Perftt, Scoring Mixer Genius • Einstein: Chapter One • National Geographic • Imagine Television and Fox 21 Television Studios Bob Bronow, Re-Recording Mixer Mark Hensley, Re-Recording Mixer Petr Forejt, Production Mixer The Night Of • The Beach • HBO • HBO Entertainment in association with BBC, Bad Wolf Productions and Film Rites Nicholas Renbeck, Re-Recording Mixer Michael Barry, Re-Recording Mixer Felix Andrew, Production Mixer Larry Hoff, Production Mixer Sherlock: The Lying Detective (Masterpiece) • PBS • Hartswood Films in co-production with Masterpiece Howard Bargroff, Re-Recording Mixer John Mooney, Production Mixer Peter Gleaves, ADR Mixer Nick Wollage, Music Mixer Outstanding Sound Mixing For A Comedy Or Drama Series (Half-Hour) And Animation Master Of None • The Dinner Party • Netflix • Universal Television, Oh Brudder Productions, Alan Yang Productions, Fremulon and 3 Arts Entertainment Joshua Berger, Re-Recording Mixer Michael Barosky, Production Mixer Modern Family • Basketball • ABC • 20th Century Fox Television in association with Steven Levitan Productions and Picador Productions Dean Okrand, Re-Recording Mixer Brian R. Harman, Re-Recording Mixer Stephen A. Tibbo, Production Mixer Mozart In The Jungle • Now I Will Sing • Amazon • Amazon Studios Andy D'Addario, Re-Recording Mixer Gary Gegan, Re-Recording Mixer Marco Fiumara, Production Mixer Silicon Valley • Intellectual Property • HBO • HBO Entertainment in association with Judgemental Films, Alec Berg and 3 Arts Entertainment Elmo Ponsdomenech, Re-Recording Mixer Todd Beckett, Re-Recording Mixer Ben Patrick, CAS, Production Mixer Veep • Omaha • HBO • HBO Entertainment John W. Cook II, Re-Recording Mixer Bill Freesh, Re-Recording Mixer Bill MacPherson, Production Mixer Outstanding Sound Mixing For A Variety Series Or Special 59th Grammy Awards • CBS • AEG Ehrlich Ventures, LLC Josh Morton, Post Audio Mixer Thomas Holmes, Production Mixer Mikael Stewart, FOH Production Mixer Eric Schilling, Broadcast Music Mixer John Harris, Broadcast Music Mixer Ron Reaves, FOH Mixer Thomas Pesa, Stage Foldback Mixer Michael Parker, Stage Foldback Mixer Eric Johnston, Playback Music Mixer Pablo Munguia, Pro Tools Mixer Bob LaMasney, Sweetening Mixer Last Week Tonight With John Oliver • Sub-Prime Auto Loans • HBO • HBO Entertainment in association with Sixteen String Jack Productions and Avalon Television Steve Watson, Production Mixer Charlie Jones, Sound Effects Mixer Steve Lettie, FOH PA Mixer Jonathan Herrera, Monitor Mixer The Oscars • ABC • The Academy of Motion Picture Arts and Sciences Kristian Pedregon, Re-Recording Mixer Paul Sandweiss, Broadcast Production Mixer Tommy Vicari, Music Mixer Pablo Munguia, Protools Mixer Pat Baltzell, House PA Mixer Michael Parker, Monitor Mixer Bob LaMasney, Supplemental Audio Mixer John Perez, VO Mixer Tom Pesa, Orchestra Monitor Mixer Brian Flanzbaum, Orchestra Monitor Mixer 2017 Rock And Roll Hall Of Fame Induction Ceremony • HBO • HBO Entertainment in association with Playtone, Line by Line Productions, Alex Coletti Productions and the Rock and Roll Hall of Fame Foundation Al Centrella, Production Mixer Susan Pelino, Music Mixer Jay Vicari, Music Mixer Dave Natale, FOH Mixer Erik Von Ranson, FOH Mixer Simon Welch, Monitor Mixer Super Bowl LI Halftime Show Starring Lady Gaga • FOX • NFL Network Paul Sandweiss, Production Mixer Christian Schrader, Re-Recording Mixer Alex Guessard, FOH Mixer Simon Higgs, Monitor Mixer Tom Pesa, Monitor Mixer Paul Ramsay, Music Mixer Pablo Munguia, Pro Tools Mixer Andre Bowman, Pro Tools Mixer The Voice • Season Finale • NBC • MGM Television, Talpa Media USA, Inc. and Warner Horizon Unscripted Television Ryan Young, Re-Recording Mixer Brian Riordan, Re-Recording Mixer Michael Abbott, Production Mixer Eric White, Re-Recording Music Mixer Tim Hatayama, Re-Recording Music Mixer Randy Faustino, Broadcast Music Mixer Kenyata Westbrook, Reality Supervising Audio Mixer Sterling Cross, Production Reality Mixer Robert P. Matthews Jr., Production Reality Mixer John Koster, Production Reality Mixer Andrew Fletcher, House PA Mixer Christian Schrader, Supplemental Audio Mixer Carlos Torres, Interstitial Playback Music Mixer William Dietzman, Monitor Mixer Michael Bernard, Music Sub Mixer Outstanding Sound Mixing For A Nonfiction Program (Single or Multi-Camera) Anthony Bourdain Parts Unknown • Rome • CNN • Zero Point Zero Production, Inc. Brian Bracken, Re-Recording Mixer The Beatles: Eight Days A Week - The Touring Years • Hulu • Apple Corps Ltd., White Horse Pictures and Imagine Entertainment in association with Diamond Docs Chris Jenkins, Re-Recording Mixer Cameron Frankley, Re-Recording Mixer Nathan Evans, Production Mixer Sam O'Kell, Music Mixer O.J.: Made In America • Part 2 • ESPN • ESPN Films and Laylow Films Keith Hodne, Re-Recording Mixer Eric Di Stefano, Re-Recording Mixer Planet Earth II • Cities • BBC America • A BBC Studios Natural History Unit Production in co-production with BBC America Graham Wild, Re-Recording Mixer 13th • Netflix • Forward Movement, LLC and Kandoo Films Jeffrey Perkins, Re-Recording Mixer
  8. I know many sound mixers have been using MovieSlate to generate beautiful electronic (digital) Sound Reports that can be easily and quickly deployed to all those in production and post that need a detailed sound report (as well as often residing along with the sound files on the daily deliverable media). There have been lots of discussions over the years about integration between MovieSlate and the most common recorders in use in production. Does anyone know what the current state of integration, if any, exists with MovieSlate? Can you enter metadata in MovieSlate and have it update metadata on a Sound Devices 688, Cantar, Deva for example? Most all of the recorders have implemented their own sound report routine but the quality and ease of these routines seems to be highly variable even amongst the machines that do it. The goal, of course, for many of us is to be able to consolidate metadata entered once and in one place and to be able to generate useful reports. I would love to know if most people are relying on the recorder's ability to generate the report and therefore do not even need to involve MovieSlate, integrated or not.
  9. Zaxcom did make one of the first, if not the first, standalone platform independent digital mixing console designed specifically for production sound work: Cameo and Cameo II. Cameo Mixers are still in use by a couple of sound mixers but it has been discontinued for a really long time, many of the component parts no longer even available. I do not think Zaxcom will build another standalone mixing console since it is clear that they have gone the same route as most of the other companies: design and build full featured digital recorder-mixer and provide hardware control surface for that recorder.
  10. I'm not quite understanding the first question: "platform independent"? Deva 24 is the new recorder-mixer from Zaxcom. It will be the top of the line of their recorders, high track count (24), tons of inputs - outputs --- can be used anywhere you would use a Sound Devices, Cantar, Sonosax recorder-mixer. It will, of course, have an amazing feature set for those who use Zaxcom wireless --- total remote control over wireless receivers all from the Deva 24 screen, etc., etc., obviously not so important to those who do not use Zaxcom wireless. It could be fed from a standalone digital or analog mixing panel or you could use the MIX-16 hardware control unit. As for using Dante to feed an SD 970, I suppose that would work, but I'm not sure why anyone would want to do that. - a somewhat older picture of Deva 24, standalone recorder:
  11. Yes, Deva 24 will have Dante (as an option).
  12. I'm a little surprised, Jose, how easily you dismiss Deva24 while praising Deva32 (and somewhat mis-characterizing Deva 32 description). It is true that Deva 32 did contain in one box, all the I/O, the mix engine, faders knobs and switches, and the recorder but wasn't really going to be a fully functional standalone digital mixer without also adding to the setup a mini-PC and some sort of display. Now, looking at Deva 24 (and it's really, really close to shipping, finally!), you have one box (essentially the same size as the older Deva Fusion) that does everything and more that you describe: DC powered, Dante, Mic/Line preamps, analog and digital I/O, comprehensive EQ, infinitely flexible routing, 8 outputs, etc. AND it has its own built in touchscreen. If you're using Zaxnet and Zaxcom wireless to get the extra benefit of being able to have total control over all your wireless (when using the RX-12 or RX-12R for example) from the same screen and all this fits in a bag if want to. Now, for a full blown cart setup, add the MIX-16 (which is very much like the mixing panel you have praised that was Deva 32 but minus the I/O and the recorder) which gives you full sized faders, etc. You can add as well, your laptop, a Mac Mini or Mini-PC and have everything that is on the Deva 24 touchscreen available, as big and bright as the host computer's display provides. I think there was absolutely nothing lost when Deva 32 morphed into Deva 24.
  13. Matt, I was pretty clear on what you were describing, a straightforward stand-alone digital mixing panel designed specifically for our style of production work. My general feeling is that as long as people are able to buy full featured mixer-recorders (most all of the offerings from Sound Devices, Zaxcom, Sonosax, Cantar) where there is a mixer-controller-interface available, there will not be much motivation to build a standalone platform independent mixer. Most everyone seems to have settled in to having a mixer-recorder with its hardware controller interface and those who wish to use a recorder that is NOT a mixer-recorder (like the 970) are doing okay with the various digital mixers (like the Yamaha and Behringer, etc.) that work okay even though they were not designed for our typical production sound recording work.
  14. My comment about mix engine was just to clarify the understanding of this discussion --- quite a few people when asking for a control surface for the SD 970, something like the CL panels for the 6 series, seem to use the word "mixer" and all the faders they want and inputs and outputs, etc., which is fine when these functions are part of the recorder (the recorder IS a mixer and a recorder). Really nice write up, Richard, on the various computer interfaces (I have been a big fan of Metric Halo for years), but you are right that this wouldn't be for everyone and does require quite a lot of computer configuring that might be beyond what most people would want to do.
  15. "If a 16-channel location mixing desk could be created for your SD PIX recorder what features would be a must-have? I am assuming SD are not going to create a CL-16 so if you could design a hybrid control surface / analogue to Dante mixer which features would you include and what would you leave out to keep costs down??" First of all, we need to be clear that a hardware control surface (like the CL-16 you say they will not build) would not work for interfacing with SD 970 and PIX recorders --- the mix engine has to be somewhere, the 970 does not have a mix engine. "My must have features would be: 12v DC, Dante, 16x Line-in only inputs (save on cost of pre-amps and stick a MixPre in-line for your boom channels), L/R outputs, 2x Aux outputs, Penny and Giles faders." 12 vdc definitely, Dante also, but I disagree with line (analog?) only inputs --- many people still utilize hardwired microphones (boom, plants, music gigs, etc.) so for me at least a minimum of 4 beautiful mic preamps built in. "Do we really need EQ or Comms ports?" Definitely a Com 1 and Com 2, user assignable, comprehensive EQ as well --- many jobs require fairly complex communication needs that might go beyond just having a couple of aux outputs. Slate mic needed too with selection of built in or external mic. "Is AES or MADI really required" For inputs, where to do you connect wireless receivers with AES (or will all of this be handled by Dante?). I'm not too clear on this.