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Everything posted by JWBaudio

  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. 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.
  14. How to hide a Sennheiser ME 2 on talent

    Semi expendable yes, lavs can see a lot punishment on a set, being exposed do pretty much everything that talent is, and while they're designed with that in mind, they aren't as bomb proof as comteks. I've picked up lavs off other mixers I know who were swapping gear for one reason or another, but mixers who I know treat their lavs as well as their boom mics. Going through a known & reputable dealer, somewhere like Trew, Gotham, Location, or Tai is probably the safest option for used audio gear lavs or otherwise. I'd hesitate picking up used gear on ebay.
  15. How to hide a Sennheiser ME 2 on talent

    Yeah, that sounds like the settings on the mixer. (or the mic if they are using sub-par equipment) I'd read up on the manual, if shows are programmed in it may take a while to go through and change everything, but if not it should only take a couple minutes max to get in and fix everything. The biggest thing is to make sure the compressor is the last thing in your chain.
  16. How to hide a Sennheiser ME 2 on talent

    Anywhere from the centre to the base of the sternum tends to be best hidden or exposed, it's the sweet spot we're always after. Exposed on t-shirts trams work beautifully, psc millimic, anything front loading, or with something like a cos-11/b6/b3 you can play around until the head is facing down and away from the mouth, that may also help to balance a bit. What's the 'over-zealous' compressor?
  17. How to hide a Sennheiser ME 2 on talent

    Collar solution works, and I've done it before, but be warned....any head movements will be VERY noticeable and exaggerated on your mix since the mic is placed so far off the lateral plane.
  18. Izotope RX6, De-rustle and Dialogue Isolate

    Just made the switch from 5 to 6 for a feature that has quite a bit of wave noise (shot at a windy beach) hovering around 4-6dB below the dialogue, and have a soft spoken actress, so it was time to get every advantage. I have been very impressed so far. The dialogue de-noiser is outstanding. One or two passes has reduced the waves by about 70% without degrading the vocals, impressive with a quiet breathy actress. De-clip seems about the same as it used to be, which is to say very good. In a few other exterior scenes a combination of the denoise and de-hum pulled out ALL of an industrial sized AC and a fountain going in the background keeping dialogue sounding natural. I don't believe in getting caught up in the 'upgrade game' getting the latest release of everything immediately when it comes out, but this is an essential upgrade for any post workflow, on several projects already it's saved me time and saved directors from calling ADR session , which keeps everyone happy.
  19. Manage takes best you can (not the most helpful answer). I've done projects where they stop every take or every other take to cut/roll check playback, give notes, etc. and some where they roll through everything before pulling over. Stretch the importance with production that if your hands are off the mixer you absolutely need the time to check the full playback before moving on Of course make sure you've got some TC (always) & scratch (if they want it) or there may be rather exuberant call from DIT or the editor, as I've seen slating vehicle shots missed almost as often as tail slates. I'm familiar with mixing from a follow vehicle with some fins up, it's a fine setup and a good way to go, but to drop or mix in a follow is going to be determined by production size, pace, how quickly you need to be mobile, if you're in a crowded area with a lot of interference potential or distance between you and radios could suddenly increase, there's a lot to take into account. Also, look into mounting the antennae on the exterior of the follow if you can to get some additional range. My last project shot a lot in a newer Toyota Avalon and the thing was like a Faraday Cage, couldn't get a reliable signal from inside if you pointed the antenna through the window right at the Tx, so I had to do a bag drop. Did a pilot in Milwaukee last year, picture car was a Jeep, I had clean frequencies for miles around, and I could mix remote no problem. There are a lot of variables in making the choice, but it varies project to project. (for me at least). I can say that my default has become bag drops just because it is a bit quicker, it allows me to be cabled to my plant mics in the car (always a plus) and has less chance of any rf trouble going on between vehicles. And I've hear about shutting the mixer in the trunk, way too risky. There's always a safe way to get your sound. Bit long, hope it helped. :-)
  20. I tried it as I was just on a project with a lot of car stuff. Wouldn't trust Wingman range for stopping and starting recording in that situation, I used it for monitoring levels in a follow car but I wouldn't try to push it any more than that, because even that got drop out a lot, even if though we stayed within a reasonable distance, and were fairly remote for most of it. There are way too many variables in play for it to be reliable for much else, nearby signals, follow car falling behind/pulling ahead, structure of of the car I've noticed had an impact, witch some combinations of vehicles working better than others. Drop the bag and monitor via Comtek.
  21. Sewing Lavs into Wardrobe

    Never encountered any wardrobe people that weren't willing to lend a hand, sorry if you've had some bad experiences. Get as involved as early as you can in pre-production and wardrobe will be more willing to keep you in mind during purchasing/designing , if you are trying to figure it out last minute, after costumes are finalised then everything becomes more difficult, and wardrobe may get understandably frustrated. And always remember that wardrobe knows the costumes inside and out, there may already be a convenient place to hide a Tx and mic that they can tell you about that you might not otherwise notice!
  22. Official buy back rates: http://www.lectrosonics.com/US/images/Trade-in-program/Lectrosonics_Trade-in_Value_List_all.pdfj As for me, thankfully I only have a couple wireless kits in the affected range, but I had been holding out on changing over until the new wide band had come out.
  23. Ambient/Denecke timecode disparity

    Seconding Ed and Coleman, it sounds like something may be off in your settings? Also, about how long does it take for the drift to become noticeable? Was either device accidentally powered off for any period of time? And, yeah, if it's a rental switch it out, and if the issue persists then at least you've isolated the issue to your 744T.