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About JWBaudio

  • Rank
    Hero Member

Profile Information

  • Location
    Chicago, IL
  • Interested in Sound for Picture
  • About
    Production Mixing & Sound Design for narrative, doc, & commercial.
  1. Guard Bands

    I'm sure WSD did lobby for it. I can't imagine the signal strength coming out of those towers is going to be impacted much by a 30mW Sennheiser or even a Lectro at 50mW, most everything we do qualifies a low power. I always thought it was more an issue with them causing interference for us. But I don't have any sort of engineering bg, so if anyone want's to get into more detail to correct or expand on how we might be generating interference for the cell towers, that would be awesome! This may help clarify some things: https://www.sportsvideo.org/2017/08/07/fcc-clarifies-rf-rules-as-the-600-mhz-transition-begins-in-earnest/ And there are many other articles that get into it. But things still aren't completely settled, and there are still some clean spots, but I would suggest trying to move out as quickly as you can. The longer you hold onto 600MHz gear the more it's going to devalue, the used market is already flooded with it.
  2. ISO's vs. Mix Track

    When running 2 booms it's nice having a track where the 2 booms are mixed. But you're absolutely right, every show has different requirements and we all adjust based on what post needs. Case and point, I finished a project recently where post wanted WAV-mono files, a very rare request nowadays (for me at least) unless you're doing something like 16+ ISOs, and that's why I always like to be in touch with post early on and send them rushes if possible (esp. w/ dailies become less regular on smaller projects) to make sure my delivery is fine with them or if we need to change something we're doing on set to help them more, etc. Most of the time post seems fine with any delivery so long as everything is diligently notated, but always drop them a line, quick phone call or email before or during production makes a big difference in making sure they aren't caught off guard by anything.
  3. Used Lectrosonics buying strategy

    UCR411a or SMb/c for the Rx which has a compatibility mode allowing it to be used with SM, 400, 200, and (I think) 100 series Tx. Then make you're choice on Tx. And make sure you get a lav compatible with your Tx, there's a servo/non-servo/universal compatibility to be aware of when picking up older Lectro gear. UM400a and newer Tx use a servo wiring. There are a few threads on the subject on the forum.
  4. ISO's vs. Mix Track

    Yes, there is an element of the 2 track Nagra days to it, and that's why I've seen a lot of young mixers sometimes forgoing a split mix, but having a split mix, as said above, to at least listen to can help in knowing what is going on with the boom and what is going on with the wires without having to start soloing tracks which is helpful on todays faster paced productions. Post tends to appreciate it as well (in my experience) because they can also tell very quickly if boom is good, if wires are good, and have to open up the ISOs far less often, most of the time just remixing from two tracks rather than however many ISOs you had running. Syncing isn't the issue, it's remixing the ISOs that will take the most work. ITS ALL ABOUT WORKFLOW - giving post options and knowing how we can deliver things to post in a way that keeps their lives as stress free as possible. And mixing from 2 tracks rather the 3 to X keeps them happy and helps in streamlining the workflow. And now that everything is digital it doesn't cost anything to do a split mix too, so why not? There are different ways of working, just do what is best for your workflow! I'm sure there as as meany reasons for as against.
  5. ISO's vs. Mix Track

    +1 This is the main reason I enjoy running a split mix. To answer Wyatt, no I have not had any problems listening to backgrounds for consistency, but I've found it advantageous as it lets me know quickly if it's the boom or wires that have changed on the background levels. And if you prefer you can always have a split mix and just change your headphone source if you need to.
  6. ISO's vs. Mix Track

    I did mean split. Haha, my apologies. Lesson learned, never post after a long day on set without proofreading!
  7. ISO's vs. Mix Track

    Interesting. My typical setup (to clarify my earlier post) is a doing a stereo mix putting wires on L - boom on R (switch if you like), X1 recording a mono mix, and then ISOs rolling. Works very nicely in my workflow. It's nice to be able to hear them separate in the cans for some setups, or flip a switch and hear the mono feed I'm giving. Post can usually just drop in X1, if they need to do minor re-mixing between boom and wire mix they they can go to the L & R, and then only have to open up and remix all those ISOs if something near-catastrophic happened. Alternative workflows anyone? Very open to trying new things.
  8. ISO's vs. Mix Track

    so your RIGHT is empty?
  9. ISO's vs. Mix Track

    Same for me, most of the time iso's are only opened up with there's an issue to address (which happens to everyone from time to time), but 2 track split mix is the way to go, and yes, like mike said, getting over 4 wires up with no rehearsals kind of turns that first take into the mixer's rehearsal.
  10. Looking Into Buying Zaxcom IFB

    Never an issue with Comtek but yes, could be influenced by your setup, don't know if you're running a phase right antenna or not but that makes a huge change if you don't have one already and is more affordable that swapping systems. Directors, producers, script supervirosrs, etc. that I have worked with all seem to understand that what they hear over the IFB is not a fully accurate representation since it's all being compressed, sent over VHF, output through some small headphones, and that I can't monitor what each and every person is hearing on their comtek. They are just listening mostly for any major issues, cues, making notes, or something else. They trust that if I hear a problem I will address it and call for another take. A director once held up a set for an hour because his feed wasn't PERFECTLY clean after I repeatedly explained that it was going through like 6 walls, with coats of old lead paint underneath and it likely wouldn't be perfectly clean no matter what we did. Never been a huge fan of R1A's, but maybe I've just had some bad experiences. Did work with the Zaxcom system recently though and it was fantastic sounding and wireless TC and scratch in one unit makes a nice single box on camera, but range was noticeably less the the R1As and be aware, there are some reports of the IFB200 causing RF bleed if placed too close to the media slot on Sound Devices 6 series.
  11. Show me your bag

    Orca OR-32
  12. Timecode slate

    Yup...always a TC Slate with film. But otherwise, unless it's specifically requested by production I usually run with a good old fashioned slate, never had any sync issues. Just get a good one, not one of the $15 bargain deals on amazon $40-$75 will get you a good quality one that has all the info to keep the editor happy. They're inexpensive and I'm not worried if an inexperienced AC has left it lying haphazardly on the floor somewhere. But I am OCD about making sure everything running TC on set is in sync. Organisation is the key to post production, and maintaining that organisation on set can save days for the poor editor who has to sift through everything.
  13. #metoo and sexism in general

    About sums is up. Introduce yourself with a smile, stay professional, and stay relaxed, there's nothing worse that getting mic'd up by someone who is awkward/uncomfortable and is showing it clearly, it's the first thing I tell my younger boom ops who are always very nervous/timid wiring talent. As far as chatting and being friendly with talent, which is likely to happen, especially if it's for the run of a show, a feature, or someone you end up working with a lot, let them take the lead, you'll be able to tell when/if they've grown really comfortable and relaxed around you. Let them start to build up more of a rapport. And if they feel uncomfortable it will show. Was recently mic'ing an actress and it became apparent she hadn't gone through the process before when I explained it needed placed on the chest area, so I paused, explained in laymen's terms why that's the best positioning and then asked if she was comfortable with me placing it or if she preferred to, no issues. Clear communication makes sure everything goes fine. I worked on a short with one boom op who asked if we had a female sound crew member to wire an actress, that he felt a bit awkward (we knew ahead of time it would be a thy mount riding fairly high), I said no, but if you would prefer I can do it or I can give a female PA or female wardrobe a quick tutorial, no big deal. He said he would just prefer to not do it, then the actress shows up (yes, attractive) and he came back up to me and said 'oh boy, look at her, man, can I go mic her up?' To which I immediately said no, and told him he wouldn't be mic'ing talent for the rest of the shoot, then quietly informed the 1st AD. I don't know if he was serious or joking, but either way it was highly inappropriate. But it was astounding, I, like Olle hope these are just small isolated incidents that aren't reflective of a wider problem. There needs to be a strong trust between talent and the sound department, because we do invade their personal space. Didn't mean to write a short essay. Be professional, be friendly, and be communicative.