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About JWBaudio

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  • Location
    Chicago, IL
  • Interested in Sound for Picture
  • About
    Production Mixing & Sound Design for narrative, docu, and ENG.
  1. SRB question...

    The receiver should only be able to scan block 26? What do you mean by letter group? The settings for the hex switches or possibly lectro's pre-coordinated frequencies? Please clarify if you can and we'll do our best to get you sorted!
  2. High temperature lav mic technique

    +1 for the b6, they've been an invaluable addition to my kit. If wardrobe is willing to adjust to help you out and make an adjustment, then button mics also would become option in a scenario like this. Otherwise on the b6 front yes to mounting to the bra, or for a t shirt I find that mounting the capsule right at the collar line helps isolate from significant chest hair, though this does move the mic above the desired placement area I've also had actors wear a thin undershirt (if they're in a good mood) to solve the chest hair and sweat issue. Dealing strictly with chest hair, placing the capsule in moleskin also helps quite a bit. Transpore has always worked very well for me, but vampire clips are very helpful as well, just remember to inform talent so the don't prick themselves!! And always mic them before they start to sweat if you can!
  3. Alexa Mini TC sync

    It is a bit surprising, but most ACs I work with have told me they were taught that since it's an audio signal, leave it to the sound dept. to sync up to camera. And yes, I have had problems (only on some smaller shoots) when camera suddenly decides to change frame rate and neglects to inform me wondering later why that affects me. Then even later wondering why things aren't syncing properly. Another reason I just have my team take care of guide and TC as soon as camera says they're built.
  4. Boom Pole Quick Connect

    Satisfied with my Ambient as well, feels like it locks in more securely than the SGS. I've had each colorured differently for the different length poles, helps my ops pick the correct pole quicker in dimmer environments. Thanks Zach for that tip on the beeswax! I'll keep that i mind as they get some more years on them.
  5. Alexa Mini TC sync

    As far as boxes on camera, I typically let the camera determine. Shooting on Alexa, typically not if it can be avoided (trying minimise on camera weight when possible) as the hold TC very well, anything from RED drifts VERY quickly so those are an always. I've found Sony, Panasonic, BM's new Ursa, etc. hold alright, but I'll still throw a box on to be safe. And I always have my op or utility go put it on camera, just because I prefer my crew to be handling my gear as much as possible, because they tend to know by sync system better than another dept. would and then I have someone to troubleshoot any issues on the spot rather than having an AC run over and ask about issues jamming TC. No complaints from DIT so far.
  6. Multi camera question

    Excellent question, and as Douglass pointed out, this is where lavs typically come in, and while very useful, cause modern television to lack a that realism that perspective can bring us. Ideally if I get a shot list and see a lot of potential situations where it will be hard to get coverage on all the talking heads with the boom (for instance a lot of mediums or MCUs at the same time as wides), I will push to bring on a second boom/utility sound, unfortunately I'm told more often than not to 'just mic everybody up' (which I try and avoid, but sometimes there's no other way to get the dialogue), then I watch eyes glaze over as I try to explain to production why a second boom is still needed if they want to shoot the way they do. Unfortunately, since a lot of productions have various limitations or sometimes can't compromise, my typical workaround is sending my boom op both the boom and wires so he can hear how everything is mixing together (this is where a good op comes in), then trying to find a balance between the boom and wire in my stereo mix. Something where boom is providing the main for some ambiance/perspective and the lav is proving just enough presence to be able to hear the lines. It's nowhere near ideal, but for me it seems to mimic perspective well enough on a project where I know they won't have/take the time in post to cut presence and add perspective on the lav's iso. So get a second boom if you can, partake in some cross-department diplomacy, try some trickery in the mix, and make a note on your report for post to adjust the iso in post. That should about cover it, but it's one of those things that I think we're still adjusting to as more and more productions become faster paced, just like more mixers having to make the switch to a wireless boom (but that's a whole different discussion haha!). If anyone else has a different workaround I would be eager to hear! JB