Jim Rillie

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About Jim Rillie

  • Rank
    Hero Member
  • Birthday 06/16/1946

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  • Location
    Halifax, NS
  • About
    Production Sound Mixer
  1. I think they must have been pre-DT48 if there was such a thing. I experienced DT48s a year or two later. The cartilage in my ears is still trying to recover from all those Beyers, LOL. SP7 long gone - eventually motherboard and contacts deteriorated over a few years after being thoroughly doused by a rogue wave whilst shooting on an oil supply vessel. Completely rinsed interior with fresh water, removed potted modules, and dumped batteries immediately, but the salt got in there anyhow. Top deck parts were all fine, but inside... Still also have a 4stc on the shelf, don't use it much anymore, except to play old tapes.
  2. Just noticed this thread, and Christian's latest post - brings back memories... First shoot (not my own gear) Nagra III with pilottone cable , a very heavy Electrovoice 642 with a handle, and a set of really uncomfortable ear-clamp Beyer headphones.(roundish with grey hard foam rubber earpads, IfIRC) Next shoot advanced to Sennheiser 804 with fibreglass blimp, same recorder. What a treat when we moved on to crystal sync! My first owned recorder was a Stellavox Sp7, first owned mic a 416T. First owned headphones those round folding Sonys - don't remember the model. Worked mostly 16mm in those days, and transferred my audio to Mag on magna sync dubbers, synched on PIcSync or moviolas or Steenbecks... Early NIFCO, MUN film unit, and CBC St. John's. All for now, Jim Rillie
  3. Which 70 MHz did they sell?
  4. Myk, You may be onto something. Software changes in the cameras may be contributing factors and may need a little tweaking...
  5. WE've been having the best luck with the Mini just jamming about every three hours - for us that is start of day, morning subs, after lunch, and afternoon subs, and at the 12 hour mark if necessary. In our case, nothing with a TC box constantly on the camera works as well for sync as our new method (which many crews have been using for a good while now). Post is happy with the results, even though the original workflow requested a box on all cameras all the time, which is the way we have always worked until now. You may have to find a small offset to program in. BTW, this also works well for the SXTs we are using. YMMV.
  6. 2 cameras, 2 booms.
  7. Got to say it. It depends...
  8. In my experience, the iPower 700s and 520s work easily in Comtek 216 receivers all day, if not several days.
  9. Never trusted the Uher... back in the day.
  10. Agreed, Ao. that's my usual tack. We all have read and heard the script many times over, but the audience gets to hear it only once before they give up and watch something else...
  11. agreed , Constantin - That person must have had old-school real training. So rare these days. I have always encouraged my boom ops to listen, but the best boom op I ever worked with never needed to hear - it was a distraction to his proper mic placement. He knew his mic patterns, lenses etc. We found ways around the communication issue. Today's work style pretty well necessitates boomers wearing headphones/earbuds or something for both monitoring and communication, but why not adjust to that style if the results are good? Best Jim Rillie
  12. In my region (Atlantic Canada) the bell and lights are operated by the third AD or his/her set PA.
  13. I'm with Vale on this. My thinking is that it's quicker for post in the long run.
  14. I think it's just the lavs with 2 wire connection.
  15. It's a Sanken thing. A good few years ago, I was in touch with audio post at the start of a show, and I sent him some tests. The post guy (Fred Brennan- sound supervisor) checked waveforms, and discovered the anomaly. This was with Lectro transmitters, but the problem may have to do with the requirements for two wire connections (which seem to be the most common for radio mics) and the voltage polarity on Sankens, I think. At any rate I have always reversed the phase on my body mic receivers since then. The reversed polarity was between transmitted boom mics and the sankens.