Jeff Wexler

  • Content count

  • Joined

  • Last visited

Everything posted by Jeff Wexler

  1. Again this year the good people of Lectrosonics volunteered to help out with the organizing of our annual RAMPS/JWSOUND Party. Bruce Jones took some great pictures --- he managed to get us all together, sort of, for a panorama group shot created by stitching multiple images --- interesting result this year! Here is a LINK to a gallery of images Anyone with any pictures they took, feel free to add them here as a post in this thread (and I will add them to the image gallery that is linked).
  2. 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
  3. I was very impressed with this IFB monitor system from Lectrosonics. Sound quality was excellent, range was terrific.
  4. I wound up spending quite a lot of time at the Zaxcom booth (not a surprise) as there were so many new things shown, lots of questions to be answered, I was pleased to be able to help out with the overflow --- so cool listening to José Frías talking about all the great Zaxcom gear in Spanish! Everyone did a great job: Glenn, Colleen, Howy, Jack Forflus, Gene Martin, Drew Martin and José Frías. I was particularly interested in people's comments about the new ZMT-Phantom for use on the fishpole for wireless boom work. I'm one of the last hold outs for the cabled boom but it is clear that the majority of sound teams working these days have gone full wireless for everything. The hold out for me, originally, was never liking the sound of the boom mic (Schoeps of course) going into a transmitter --- this objection was totally solved with the Zaxcom digital wireless, almost no penalty vs. hardwired, but another problem remained which was monitoring for Don Coufal --- none of the normal wireless monitor systems in use at the time (Comtek, Lectro R1a, etc.) were acceptable. This also was solved when Zaxcom came out with the ERX. I had seen all the pictures from people working in Europe with wireless transmitters on the mic end of the pole --- not something many of our US sound people were doing. I never liked the idea of putting weight on the mic end of the pole. I had seen wireless transmitters, phantom power supplies, even external mic preamps (not being so pleased, I guess, with the mic preh in the transmitter), all of this along with the mic at the end of the fishpole! Seemed almost impossible to work that way. I know that here in the US, quite a few people were also using the SD MM1 external mic preamp but all these boxes were either on the belt or at the other end of the pole. Zaxcom has solved all of these issues, for me, with the incredibly small and full featured ZMT-Phantom. Almost no weight when you factor in removing the internal cable (weight), no need for any external preamp (the mic preamp has huge dynamic range and is also adjustable remotely, of course, even while rolling), no need for phantom power supply, etc. I'm tempted to use the often mis-used phrase "it's a game changer" but in this case it's not that it is a game changer but it has made the game so much easier, so much more practical and, of course, glorious sound from your favorite boom mic.
  5. New topic title for images from NAB, RAMPS/JWSOUND - 2017
  6. Beautiful! Patrushka, Carol and Grace's first NAB! Thank you, David, for posting something other than equipment... now, bring on the gear! New topic heading for images from NAB - 2017 LINK
  7. This is so sad... what an amazingly kind and wonderful man. I never managed to do a whole movie with Jonathan, but first worked with him doing pick-ups on a movie in the Corman era, "Caged Heat" in 1974 at the beginnings of both if our careers. "Jonathan Demme, the Oscar-winning director of Philadelphia and The Silence of the Lambs and the filmmaker who revolutionized concert movies with his 1984 Talking Heads movie Stop Making Sense, died Wednesday morning from esophegal cancer. He was 73."
  8. It is my understanding that the ZMT version plug-on (the one with an XLR connector) was designed to provide a news reporter style plug-on to be used with the typical EV RE-50 microphone. It utilizes an antenna system that uses the body of the transmitter and the microphone which does result in reduced range. In this case, range is assumed to not really be an issue for it's intended use. The ZMT - Phantom (Lemo connector) is the one that is really designed specifically for the boom and is not to be used with a lav. It has an external antenna to provide maximum range which should be very good aided by the transmitter's position up in the air on the mic end of the fishpole.
  9. Another good reason was to see you Philppe! Guess we'll have to hope for next year.
  10. I wouldn't say Coppola and Scorsese introduced much "new filmmaking approaches" except to the extent that they were both very much at the forefront of the whole independent filmmaking era. I would say that the increase in use of more and more practical locations rather than studio sound stages certainly was a factor --- the set, being a real room in a real building, produced challenges for all departments, but on many movies that were done outside the studio system, sound stages were not an option. Another factor, I believe, was more and more young people coming into the business with no personal experience with a boom, and assuming that use of a boom was something that was only done on big studio movies in Hollywood --- it was sort of a self-fulfilling thing since these young crew members found themselves, not on big studio movies but rather on lower budget, independent movies with no major studio. Lots of factors going on here --- I have only mentioned a few prominent ones.
  11. Thank you, Laurence, for the link top the wonderful article in L695 Quarterly that sites an earlier article on the history of the boom. I was going to extract some of that article and a picture or two for this topic but I felt that most people had already gotten all the information they needed and this topic had sort of run its course. I find it all totally fascinating, the history and all, maybe because I am old enough to have seen a lot of this stuff first hand.
  12. Yes, Philip, there was a mic boom made by Moviola (also Moviola made a camera dolly). I was looking for a picture before mentioning this but I wasn't able to find anything. Regarding the original post, Paramount had both Mole-Richardson and Fisher booms but the point I was trying to make to Viscount Omega is that use of a boom for the majority of shooting was standard procedure at the time Rosemary's Baby was made. I started out in 1970 and we used to carry a Fisher Boom on the truck on just about every movie. I can't really pin point the exact year when the Fisher began to fall out of favor, but somewhere around 1984 it became much more difficult to use the Fisher Boom so we pretty much gave up on having it with us all the time.
  13. I try and be a little bit more precise when discussing the equipment we use today and the gear that was used historically. I think it is a disservice to say "Fisher is like Kleenex" --- I do agree with you that this is probably the case but I would rather not participate in this perpetuation. Also, the word "perambulator" refers only to the wheeled base that both the Mole-Richardson and the Fisher booms used. Both Fisher and Mole-Richardson produced booms that did not have the perambulator wheeled base.
  14. I didn't say that every boom pictured in use was a Fisher. One of the exterior shots it does appear to be a Fisher.
  15. Some behind the scenes pictures confirm that Fisher Boom was in use, interior and exterior, and this is what I would expect for a studio feature film shooting in 1967. There was significant departures from traditional camera styles, more use of hand-held camera (often with un-blimped Arriflex as shown in one of the still photos) and for those scenes it is quite possible there was some ADR required to deal with camera noise. short fishpole with Electro-Voice microphone notice the boom behind the camera --- also on an exterior the boom, again un-blimped, hand-held camera --- noisy!
  16. Highly unlikely there was very much ADR in the movie. The majority of the interiors were shot on sound stages at Paramount and listening to the clips (thank you for that) it sounds very much like typical and traditional production sound work --- probably all boom mics on Fisher or Mole Richardson booms. The sets beautifully done by Dick Sylbert I'm sure were designed properly and of course built to accommodate both camera and sound. The perspective that is apparent as people walk away from or up to camera is what gives the dialog recording a sense of realism and honesty, things that are quite difficult to produce with ADR or mixing dialog that has been close miked with lavaliers. Please that you appreciate these things while listening to the dialog --- it is the sort of sound that most of us old guys used to be able to achieve relatively easily as most of the other movie-making procedures made it all possible.
  17. I think John B. nailed it! Having attended NAB almost every year for well over 30 years, I have certainly seen a lot of changes. It is so true that what used to be the primary reason, companies showing gear for the first time, often gear that will be years away from being shipping products, this aspect of the show has almost completely vanished. The social aspect has only increased, however, with the face-to-face interacton with the people being even more important now in the Internet/Social Media age. Being able to talk directly to the great people with the companies that produce all the great toys we use is wonderful --- and, as John B. has said, meeting up with so many people that during the year one interacts only online, this is why I go to NAB. Of course, the R.A.M.P.S./JWSOUND Party, always a great place to put this altogether.
  18. "What do you think about this? I think Sennheiser wants to retain their G3 customers preventing them to migrate to Zaxcom or Lectrosonics." I think the Sennheiser receiver is pretty amazing and quite an engineering accomplishment with support for every transmitter they make, both analog and digital. It is very expensive and is only useful, obviously, to those who are already into Sennheiser stuff, but it is doubtful that your typical G3, G4 user will be able to justify this purchase. For me, if I were going to go with Sennheiser wireless I would only be interested in their digital transmitters that are grossly over-priced and do not deliver on many key features and functions of my current digital wireless. I think the 9000 series transmitters are about $2700. each --- pretty steep.
  19. Thank you, Philip, you've been with us long enough to know that you have summed up exactly the original intention with the Want To Buy - Want To Sell section --- it was really meant to serve as a place where the people we already know (real names, real discussions, some common history) can find some gear they want to buy or sell something they no longer need. When it works, it works well, but it has had its fair share of problems over the years.
  20. First of all, nobody "buys something on JWSOUND" --- anybody that has made a purchase or has sold something that was posted in the Want To Buy - Want To Sell section of this DISCUSSION group, they are on their own. Any advice on how to deal with any problems associated with any transaction should be had as a discussion amongst those who have had experience, person to person, with transactions of this sort. JWSOUND, the site, has nothing to do with this since we are not a commerce or auction site, etc. Same goes for people who may have had problems getting payment or have purchased or offered stolen merchandise, etc. Maybe someone will chime in with some advice but again, it will not be advice offered by JWSOUND.
  21. +1 to Laurence for remembering that phrase. Remember also, "let's make a dance floor" for the dolly.
  22. Most all dolly "track" was built on the day with wood. Metal tube-type track wasn't really in use much until mid-1970s as I recall. Usually the dolly move was quiet with the wooden track not adding anything we couldn't deal with.
  23. I listened to "#2 the ZMT3 going thru QRX200 receiver (XR mode) into the Nomad, no lav, fader up" file and didn't really hear any significant noise floor. I'm not sure what's going on exactly with your setup.
  24. I love these carpool karaoke segments (and it looks like they are very popular with everyone) and the only thing that find myself thinking about from a technical standpoint is how much of them, if any, use stationary vehicle and greenscreen process. I am pretty sure whoever is shown driving is not actually driving the car (most probably towed) and I really think that some of them were done greenscreen process with some real driving (obviously exterior shots of the vehicle moving in traffic, also vehicle stopped and people getting in and out, stuff like that). Does anyone know if any of these have used process shooting?
  25. 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.