Jeff Wexler

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Everything posted by Jeff Wexler

  1. 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.
  2. I got my first DPA 4098 (goosneck style) microphone today and I have been putting it through its paces. I already had glowing reports from Whit Norris and Jan McLaughlin, who both have these amazing little microphones. Whit has been using them with Lectrosonics transmitters and loves them, Jan has been using with Zaxcom transmitters and has not reported any of the anticipated problems with respect to the lower voltage supply from Zaxcom transmitter. The theory is that with lower supply voltage (they are rated to require 5 vdc and Zaxcom xmtr puts out 3 vdc) there would be an increase in self-noise floor and a decrease in overall headroom (dynamic range). So far, in the situations that Jan has used the 4098, if in fact there have been these decreases in performance it has not been noticeable and the mics have been incredibly useful. My preliminary shop testing (and by "testing" I mean only listening, which happens to be the only test I really have faith in), I would say the self-noise is only slightly higher than the 4063 lav we use (which only requires 3 vdc). I had my wife yell into the microphone (I've actually never heard her yell at anyone or anything) and it never even got close to sounding clipped or tearing, it held up beautifully. So, my conclusion would be that it should never be a problem except possibly in the very quietest environment. The benefit of this super compact super-cardioid goosneck-style microphone, ease of use as a quick plant mic, far outweighs any potential liability for me.
  3. The Zaxcom website now has a fairly extensive explanation of NeverClip technology as is used in Nomad recorders. It's a good read and there is an audio file demo posted that demonstrates the extended dynamic range provided by NeverClip technology. NeverClip Explained NeverClip Demo (audio) Even though I put both links here, I would suggest for anyone who is still not sure what NeverClip is, should do the reading first before listening to the demo.
  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. 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.
  7. 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.
  8. 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?
  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. Announcing annual RAMPS/JWSOUND Party happening at NAB 2017. Link to the RSVP form: Secret words: more spectrum The 27th annual NAB R.A.M.P.S. Party will be held at Satay Thai Bistro & Bar in Las Vegas, April 25th, 2016. 6:00pm - 9:30pm - Buffet opens at 7:00pm. 3900 Paradise Rd, Suite N Las Vegas, NV 89169
  13. RF Info and the FCC Licensing Project Mission Statement In order to ensure that the concerns, needs and issues of the thousands of professional sound recordists in the United States who use the UHF spectrum on a daily basis, can be heard by the FCC, it is imperative that as many users as possible obtain a license from the FCC. The basic goals of this project are: To educate Production Sound individuals who use radio equipment in the lawful use of these devices, and to understand the privileges and responsibilities of licensed operation. To remove the liability of unlicensed operation of wireless transmitters. The FCC can levy fines of up to $11,000, per transmitter, with up to one year in Federal Prison. To give the individual user, as a licensed operator, the capability of lodging an official complaint to the FCC, when their licensed operation is being compromised by spurious transmissions generated by unlicensed or incorrectly used operators using the UHF spectrum. Other operators transmitting above their legal power, unlicensed “white space” devices (WSDs), aka: TVBD’s, and any number of activities that compromise the operation of a licensed station, when reported to the FCC by licensed stations, will be investigated. To allow the priority operation of licensed low power stations such as wireless microphones over White Space Devices. A licensed user will be able to contact the WSD coordinator and give them your license number, location, and frequencies and all White Space Devices in that area must by law shut down. To allow the licensed operator the legal right to transmit at 250 milliwatts. To allow the possibility of responding to proposed changes in FCC operations and allocations, as a large group of licensed operators in consensus. To set up and maintain (via JWSoundNet) a forum for discussion and clarification of Licensed operation, news pertaining to the FCC’s projected use of the spectrum, along with the development of techniques and easy-to-use forms for interacting with the FCC and your local Frequency Coordinators… How to obtain a License An FCC license is obtainable by any US citizen intending to operate within the US and its territories, for a fee of $145. The application process, however, is daunting. The application process is fairly complex, arcane, and must be letter perfect in order to be processed by the FCC. The Process: 1. One must obtain a FRN (FCC Registration Number). Go to: Click on Register and Receive Your FRN; you will be directed to a page where you determine Registration Type. Continue through the process until receive your FRN and create a password. 2. Download FCC Form 601, the application. You will also need Form 601 – Schedule D and Schedule H. Once you have found the answers to all of the questions you then go on line, log in with your FRN, and enter the data on line. 3. Submit the completed form. You will get a file application number. 4. Go back on line and pay the $145 fee to the FCC. Alternately, you can retain someone that knows how to do this. One option is to contact Bill Ruck, Broadcast Engineer, in San Francisco. He’s been through this enough times to be able to complete the information on line. He holds Broadcast Auxiliary Low Power Radio Station Authorization WQMP992 and an FCC General Radiotelephone License. Bill can be contacted at 415-564-1450 or The process requires a fair amount of time and great attention to detail, and the Bill is asking a $100 fee for completing the process. The Project has endeavored to make the process as simple as possible in order to get as many operators licensed as possible. If the process is followed correctly, a license will be granted by the FCC in about three months, with a total outlay of $245. Submitted, Jay Patterson, CAS, WQNJ498 Code of Federal Regulations – Title 47 – Telecommunications Relevant excerpts of FCC Code with highlighted portions relating to this discussion Additional discussion about this topic “RF Day” Streaming Video “RF and What the Digital TV Transition Means for Radio Mic Users” Presented by Tim Holly in Burbank on July 18, 2009. LINK to IATSE Local 695 for complete information on this topic Useful External Links: Code of Federal Regulations (the actual Laws/Rules) FCC Website FCC DTV Coverage Area Maps Lectrosonics DTV Station Lookup Sennheiser Frequency Finder FCC CFR 47 Reference Link FCC Universal Licensing System FCC Office of Engineering Technnology DTV Page Updated Maps of All Full-Service Digital Television Stations Authorized by the FCC LECTROSONICS WEBSITE FOR WIRELESS FREQ SENNHEISER WEBSITE FOR WIRELESS FREQ TV& RADIO CHANNELS AROUND THE WORLD FCC TV CHANNEL LOOK-UP SERVICE Find out how to coordinate frequencies on the set http://www.professionalwireles.../ias/Demo/index.html Find all digital stations within 80 miles of a zip code
  14. LINK to the Gallery of Sound Carts --- lots of good ideas here, also, many images that show cabling and interconnects, integrated patch panels, etc.
  15. 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.
  16. 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.
  17. 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.
  18. Thanks for the memories, Dave Fisk! You were right there during the all important but highly stressful times as our small group of pioneering sound mixers struggled to make file-based recording the norm. As you pointed out, using DAT was not such a big leap because it was just tape and the initial transfers were almost always analog to mag film since that was still the standard for dailies the first procedure in post production. When we first starting using the Deva I, the only way to utilize our sound "files" was to play them out in real time (from another Deva in place in the transfer facility) and again, transferred to mag film --- so, to a certain extent it behaved just like linear tape. We all knew that the significant and game changing promise of file based production recording would be the utilization of the sound files directly --- these files to be carried through the whole post process. Remembering that in those times the Zaxcom Deva was the only machine we were using (none of the other manufacturers had come up with a file-based recorder) we were experimenting with all sorts of storage/deliverable media. We used outboard hard drives transferring our files off the Deva's internal drive, we tried Jazz discs, we tried Orb discs, finally settling on DVD-RAM which had quite a long run (I probably did about 1000 DVD-RAM discs before moving to Compact Flash). It was a wild ride but I am so pleased to have been part of the adventure from the very beginning. The move to file-based production recording was the first major shift in procedures that was initiated by Production Sound Mixers --- almost every other significant change to our work had been dictated by Post Production (for example, use of timecode in production starting with commercials and then working its way into feature film production).
  19. I think it's basically a joke --- just there to show the size, not a real plant mic (and I agree with you, a potted plant would provide much better cover to camera!).
  20. I have been following this, somewhat reluctantly, and I would like to first say +1 to John Blankenship --- I think he has the only relevant answer: Ritalin. That said, this topic thread is going nowhere and reminds me of some of the reasons why I started JWSOUND in the first place. True, this is not as nasty as lots of the stuff that used to happen on r.a.m.p.s., but it still has devolved into much more of a combative mode than I ever like to see on the site. Let's try and bring this back to some sort of civility or drop it altogether. I'm not going to try and place blame on any one individual for the direction and tone this has taken, but I would like to thank those who have tried but possibly not succeeded in the efforts to calm this whole thing down. Maybe Ritalin IS the answer.
  21. Highlights of CAS coverage FROM BELOW THE LINE NEWS 53rd Annual CAS Awards: La La Land Scores Top Sound Mixing Honors February 20, 2017 | By Mary Ann Skweres Ryan Gosling and Damien Chazelle in La La Land (2016) Racking up another win on its way to the Oscars next week, La La Land took home the Cinema Audio Society Award for Outstanding Sound Mixing Motion Picture – Live Action at the 53rd annual awards. Director Damien Chazelle was on hand to support his sound mixing team of Steven Morrow, CAS, Andy Nelson, CAS, Ai Ling Lee, Nicholai Baxter, David Betancourt, and James Ashwill. Finding Dory swam to top honors in the Motion Picture – Animated category for the sound mixing team of Doc Kane, CAS, Nathan Nance, Michael Semanick, CAS, Thomas Vicari, CAS and Scott Curtis. This year the first ever CAS Award for Outstanding Sound Mixing Motion Picture – Documentary was garnered by The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble and the team of Dimitre Tisseyre, Dennis Hamlin and Peter Horner. The People v. O.J. Simpson: America Crime Story “A Jury In Jail” Episode 108. Pictured: (l-r) David Schwimmer as Robert Kardashian, Cuba Gooding, Jr. as O.J. Simpson. CR: Prashant Gupta/FX Having grown out of their previous venue, the Millennium Biltmore Hotel, the ceremony was held February 18th at the Bunker Hill Ballroom of the OMNI Los Angeles Hotel at California Plaza. Returning, as Master of Ceremonies for the Awards was comedian, actress and animal rights advocate Elayne Boosler. Trophies for Outstanding Achievement in Sound Mixing were presented in seven feature film and television categories, including the inaugural Motion Picture Documentary award. Playing to her audience at the opening of the ceremony, Boosler welcomed the crowd with politically tinged humor commenting, “Just remember, the sound mixing is real, the movies are fake.” After the wild applause, Boosler was rewarded with riotous laughter when she added, “Also, whoever gives the best acceptance speech tonight gets to be our new national security advisor.” Calling his associates “Stewards of Sound,” CAS president Mark Ulano recognized the achievements of the mixing community, citing Emmy and BAFTA Awards winners and Oscar nominees. He announced CAS’s new board members and paid tribute in memoriam to members lost in the past year. Presenting production mixer John Pritchett, CAS (Memoirs of a Geisha,Road to Perdition, Magnolia, Wyatt Earp,The Player) with the CAS Career Achievement Award, two-time Golden Globe nominee Jack Black (Bernie, School of Rock) joked, “Sound mixing is a lot like plastic surgery. You only notice when it’s badly done.” Pritchett was feted by previous CAS Career Achievement honoree, Scott Millan, CAS, in a presentation that included remarks by actor Tom Hanks. He has had successful working relationships with some of Hollywood’s most prestigious directors – Robert Altman, Lawrence Kasdan, David Mamet, Paul Thomas, Anderson, Oliver Stone and Richard Linklater. Game of Thrones,”Battle of the Bastards” (2016, Courtesy of HBO) In accepting his award, Pritchett noted, “None of us do what we do by ourselves. We all sit on some sort of little pyramid… Each of us in our own way, we sit on our own pyramid of support, people who help us do what we do. I cannot accentuate enough the fact that we as sound mixers rely so much on those who help ­­– our boom operators, our utility people.” Writer/Actor/Producer Seth MacFarlane was on hand to present Emmy Award nominated multi-hyphenate filmmaker Jon Favreau (The Jungle Book, Chef, Cowboys & Aliens, Iron Man, Iron Man 2) with the 12th CAS Filmmaker Award. The presentation included remarks by Ulano and Academy Award nominated and Emmy Award winning composer John Debney (Sin City, Iron Man 2). Videotaped congratulations from Stan Lee and Ed Asner rounded out the tribute. Debney concluded his comments on a personal note, “There is no greater joy for a composer than being on a scoring stage, in front of the finest musicians in the world, creating music for an appreciative and collaborative director… Jon, thank you for the ongoing adventures and for giving this humble composer a chance to write music from my soul. To be a small part of your universe has been the honor of my career.” Having started his career in the entertainment industry as an actor, Favreau moved into working both sides of the camera as an actor, writer, director and producer. In accepting his CAS award, Favreau observed, “This is really wonderful. It’s not lost on me that I’m the only guy being honored tonight that’s not in your trade. That’s a big deal. It really means a lot to me that those of you who work with me didn’t veto this award.” He also stated that mixing is, “An invisible art, because by definition, you can’t see it, so people under value it,” but shared that he had learned from a young age the value of all aspects of sound in filmmaking. The sound mixing team of The People v. O.J. Simpson: American Crime Story took top honors for Television Movie or Mini-Series. Television-One Hour honors went to Game of Thrones: Battle of the Bastards, while Modern Family: The Storm won the award for Television Series-Half Hour. Grease Live! won for Television Non-Fiction, Variety or Music Series or Specials. The Technical Achievement Awards, revamped this year as the Outstanding Product Awards, went to Cedar Audio for their Cedar DNS2 Dynamic Noise Suppression Unit and McDSP for their post production SA-2 Dialog Processor. In its third year, the CAS Student Recognition Award, created to launch the careers of students aspiring to move into the field of sound mixing, was presented to Chapman University’s Wenrui “Sam” Fan. Celebrity presenters for the CAS Awards included: Nancy Cartwright (The Simpsons), Robert Forster (Jackie Brown), Janina Gavankar (FOX’s Sleepy Hollow), Clyde Kusatsu (SAG/AFTRA vice-president, Madame Secretary), Rhea Seehorn (AMC’s Better Call Saul), Angela Sarafyan (HBO’s Westworld) and Nondumiso Tembe (History Channel’s Six). Complete List of CAS Winners: MOTION PICTURE—LIVE ACTION 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 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 MOTION PICTURE—DOCUMENTARY 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 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 Game of Thrones: Battle of the Bastards Production Mixer – Ronan Hill, CAS Production Mixer – Richard Dyer, CAS Re-recording Mixer – Onnalee Blank, CAS Re-recording Mixer – Mathew Waters, CAS Foley Mixer – Brett Voss, CAS TELEVISION SERIES—1/2 HOUR Modern Family: The Storm Production Mixer – Stephen A. Tibbo, CAS Re-recording Mixer – Dean Okrand, CAS Re-recording Mixer – Brian R. Harman, CAS TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS Grease Live! Production Mixer – J. Mark King Music Mixer – Biff Dawes Playback and SFX Mixer – Eric Johnston Protools Playback Music Mixer – Pablo Munguía OUTSTANDING PRODUCT—PRODUCTION CEDAR DNS2 Dynamic Noise Suppression Unit Manufacturer: Cedar Audio OUTSTANDING PRODUCT—POST SA-2 Dialog Processor Manufacturer: McDSP STUDENT RECOGNITION AWARD Wenrui “Sam” Fan Chapman University – Orange, CA
  22. I can hear Joe saying that --- what a piece of work. You're a good man, Moe, for putting up with that, and he has continued to work with that "idiot for a soundman" --- I hope he knows how lucky he is.
  23. Philip, the moisture (dew) problem was certainly an issue, never figured out any way to deal with it, but your story reminds me of the dreaded "sunlight problem" I had with my first StellaDAT. Shooting in Griffith Park doing running shots, I was set up in the cab of the camera car and we had about a 3 or 4 minute run on the streets and through a tunnel, did a bunch of rehearsal runs, picture car being towed was dead quiet, generator noise through the tunnel was a bit of a worry but we were basically good to go. First take everything is fine until we go through the tunnel and when coming out the other end the StellaDAT just shuts down! Bummer, we stop, we're going to go again, of course, so no worries. Take 2, coming out of the tunnel, the machine shuts down again! Production is starting to get worried and so am I, bring out my SONY D-10 Pro and we do three or four takes, no problem. I had the StellaDAT rep come out to the location, I explained the problem and after all the discussion he asked me if I had a business card --- I said BUSINESS CARD, what are you talking about, you know who I am, I called you out here to solve the problem! He then said, very calmly, if you have a business card, place it on the clear window that looks into the cassette transport. There is an optical sensor that senses the end of the tape and shuts the machine down. The business card covering that window will prevent stray sunlight from tripping the optical sensor. Evidently, the sun was in such a position at the end of the tunnel on our run that light was getting in the cab and into the machine and shutting it down.
  24. Scott said: "The first movie I did with DAT was "The Package" starring Gene Hackman back in 1988 (with a Nagra and Dolby A as backup). We used a couple of modified Sony D-10's along with Panasonic SV-250 recorders." Hey, Scott, I didn't know you did some early experimental work with DAT. Makes perfect sense because you had one of the advantages that we both had in common --- owned a transfer facility! The other thing about all of these early experiments is that even though it was a lot of extra work and equipment we were essentially running two parallel systems with one of the systems (whether you referred to it as the primary or the backup) fitting into the proven and accepted workflow. None of us wanted to make any production the guinea pig for our experimentation as we pursued new ways of doing things in production.