Jeff Wexler

  • Content count

  • Joined

  • Last visited


About Jeff Wexler

  • Rank

Profile Information

  • Location
    Santa Monica, CA USA
  • Interested in Sound for Picture
  • About
    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  1. These "transmitter units" you are showing are receiving antennas, log periodic type, often referred to as shark fins. These connect to the wireless receivers that are receiving a signal from wireless transmitters. Generally, this is not for communication purposes it is for recording purposes --- lavaliere microphones, body worn by the the person you are recording, or a boom microphone. As for your rather confusing question about tracks, cueing, transmitting, etc., I haven't a clue what it is you are asking.
  2. Thank you for that, Vin, and it was not an easy film to do but we all managed to do pretty good work. Unfortunately, not a very good movie, failed miserably at the box office, but oh well. It was a terrific crew and all in town (L.A.) and the shooting style was as close to "old school" as one could hope for in today's digital world. We did shoot digital (Arri Alexa) but never abused the medium, didn't shoot multiple cameras randomly or without thought, etc.
  3. INFORMATION: About two or three updates back, the IPS forum software changed and no longer accepted sign in using email address --- you have to use your Display Name (aka username) and password. Lots of people who have had this problem have also forgotten their Display Name (or their browser is auto-filling an incorrect name). Anyone unable to solve this problem should contact me directly and I will walk you through it.
  4. Very sad, made it to 90 years old, pretty amazing. The influence he had on the whole of rock and roll is almost immeasurable. The music lives on in our hearts and souls.
  5. Of course you know I would love to hang out on the set, any set, pontificate and tell stories, and not have to actually WORK ... that would be a little selfish, even for me, so I won't attempt it. As for the whole rocking chair thing, thanks for the offer but no thanks. As a working sound mixer for all those years sitting behind the sound cart, now that I'm retired I have to be even more aware of how little exercise I get.
  6. I agree with this completely --- even being limited to a two person sound crew, the sound work potentially is going to be seriously compromised and it is ridiculous to think that the sound crew could do the video engineering job as well.
  7. I have to disagree with some of what you're saying, Robert. Maybe it's my lack of understanding what "low tier" jobs are. If it's a union job covered by a contract, aren't there still job classifications and jurisdictions? If so, video engineering work should be done by the sound/video department shouldn't it?
  8. That's Don Coufal and Crew Chamberlain, two of my most favorite people, two of my oldest friends and fellow workers. I love seeing them together, working on a commercial, loving life! So much communal history, kind of blows my mind we've been around this long.
  9. I think the general approach in production will be to utilize the Cedar DNS 2 on the mix track only, leaving any and all of the iso tracks unprocessed and available for post to work on if needed. I really don't see production sound mixers applying noise reduction on all tracks which would produce, as you have said, multiple tracks, processed and un-processed, it could be a real nightmare. One of the most useful aspects of the Cedar box that I have heard from people using it, is to improve the mix track even for the benefit of those needing to monitor in real time on the set. Following that, it could give the picture editor a cleaner track to work with before sound editorial gets their hands on your mix and the isos.
  10. I think Matt was saying that the top work surface is detachable and stows on the front or back for travel. I don't think it has any folding mechanism which would allow it to stay attached.
  11. People have been asking me what I miss most in retirement --- simple answer: working with Don Coufal.
  12. LINK to the Gallery of Sound Carts --- lots of good ideas here, also, many images that show cabling and interconnects, integrated patch panels, etc.
  13. This is quite a general question which I don't think has a simple answer. If I had to answer this with a simple and fundamental answer, it would be something that applies to the general signal flow for everything we do: microphone > mixer > recorder > media > deliverable. The infinite number of ways that this signal flow is achieved on anyone's sound cart is not so easy to answer. Maybe I don't understand the question.
  14. David's got it right --- I was looking for images myself before posting the answer and your images showed up and David confirmed the item. It was an accessory for the Sennheiser line of microphones and it was essentially a barrel with Tuchel to Tuchel connectors. I used this item a few times and thankfully the batteries lasted quite a long time because it wasn't too much fun loading all those button batteries, getting the polarity correct, etc.
  15. There is an art, somewhat informed by an understanding of science/physics/acoustics, to treating a room. If all you have to work with are furniture pads ("sound blankets" when in our hands), you can devise any method you want to hang them in places where they will not be seen by camera and do not interfere with lighting. There should always be a space between the pad and the wall and be aware that ANY furniture-type pad will generally only help with high frequencies. Bottom line, almost anything you put in a room may help --- I have gotten significant benefit from just placing a pile of pads in a corner. You just have to experiment.