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Tom Visser

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About Tom Visser

  • Rank
    LilyGilder
  • Birthday 07/05/1972

Profile Information

  • Location
    Waimea (Kamuela) & Honolulu, HI
  • Interested in Sound for Picture
    Yes
  • About
    IATSE 665 & 695 Y-1

Contact Methods

  • Skype
    tsvisser

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  1. Reverb in exteriors

    I'm sure your expert ears and sensibilities are correct, look forward to seeing the film myself when it is publicly available. I was setting up an LFE system yesterday and played "Gravity" and was sort of cool to hear the LFE rumble a bit with the low end from the astronauts' tools - not big explosions or special effects, just the subtle reinforcement to the scene through creative use of the low frequency spectrum on a "mundane" scene.
  2. Reverb in exteriors

    The snow was soft? Or has there been a prior days melt and then refreeze overnight that caused the snow to have a smooth icy coating? Also was there frozen snow up in the trees and icicles? Sometimes when patrolling in a gulch or between fingers you can hear reinforced echoes from the walls, doesn’t have to be full on cliffs or mountains. I mostly agree with you, just the curmudgeon former infantryman in me thinking out loud.
  3. Panny GH5s

    Unless something really interesting comes from Sony in the A7Siii or FS5ii, looks like I’m switching over to the GH5s, really well though out feature set from Panasonic.
  4. Working with LTC(tentacle sync to be specific) and client

    I would never offer LTC as audio timecode as an option to a production unless they either request it or approve the workflow in advance. As far as sound handling video files as an intermediate between field and post, never happens unless you somehow hire yourself on as a DIT type. Tentacle sync seems like a good option for owner operators and for mixers working on long-form projects with such a specific workflow, but for most projects, we are either all operating LTC capable cameras and recorders, or you fall back to digital timecode slate. My opinion.
  5. That reminds me about the time I found out that a major pharma company was about to release a drug that would allow a certain appendage to operate like it used to when a man was younger. I had $16K in my pocket. I was a young man and my thing worked just fine, so I didn't get what the fuss was about. I bought a sports car.
  6. Kirk Francis contact?

    Last time I offered him work he swore at me. He also happens to be a neighbor, although I’ve never gone to visit. Maybe I can get a message to him.
  7. Roll your own audio interface (miniDSP USBstreamer)

    Hey Richard, if you just need SRC the AJA ADA4 can perform that funcution if you set the DIP switches for D to D mode. Only does 4 channels but 2 units can be synched from external source or each other. I bought a couple prertty cheap used.
  8. Staff Me Up

    I keep an eye on it, might have gotten 1 legitimate job in about 2 years. As someone outside of LA / NYC, it is typically LA / NYC producers looking for bottom of the barrel rates. Not to disparage those areas (former NYC'er myself), just that is where most traveling producers tend to originate and in those cities there are lots of people willing to stoop way below the common sense standards.
  9. The Sony remote control scheme is very interesting too, could see me delving into a couple to try, if for no other reason than to have something that can be repurposed to a Sony native camera hop set too.
  10. I do personally slate any room tone takes with a fairly verbose header. It might be something like (beep) "Kaimana beach exterior, faint traffic drone, moderate wind, and intermittent bird song, 30 seconds". (beep). This lets the editor know where I am, possibly to match other similar or exact location shots in the future, if they bother to keep a metadata tagged database, and also why I'm rolling room tone. I don't roll tone by default for every shot / location. I only get it when I feel post is going to find it useful, that way people know that when I'm asking for it, it's for a specific reason and not just to satisfy some sort of routine. I get very little push back whenever I ask for it this way.
  11. Production Mix Structure

    Memory seems like I've run through this discussion several times on the forum, but quick 30 second regurgitation of my current S.O.P. Split mix is good for lower budget (or corner cutting television shows) that would like to get away with using camera sound, usually fed by pro-level hops or hard line, i.e. not a scratch track, in which case I'll split lavalier groups or boom / lav split if for some reason I'm booming something - but never just default always boom - purely contextual for me. For narrative, I highly recommend doing a mono mix. It is THE single mix that as a PSM and QC expert, you are focussing on during takes, and if you suppose that the mix has a possibility of being used, is THE one option that is your best foot forward to present to editorial. Even if the production mix is not being used, then it is still very important as everyone who deals with dailies or watches dailies, or has to do technical work down the line, like cutting, ADR, foley, SFX, score, etc... will use to accomplish their jobs. My standard is track 1 is the primary mix, which for me is +6dB over my ISO, mainly because I use a Cantar X2 and that is how much "gain in hand" the Cantar offers me on faders. track 2 for me is a safety mix, which is basically the "mix -6" or a mono mix where the levels equal my ISO track levels. If you are delivering a poly file or the sound gets synched to video early on in the game, anyone previewing the clip or track will only hear tracks 1 and 2 generally, so having 2 mono mix tracks makes it safe to assume that an uneducated listener will only hear the mix and not an errant ISO. Everyone does it different, but then subsequent tracks are lavalieres or plants and for me the last track is always boom. I more often than not fly an ambience mic on the 2nd to last track. Just a side note, I think the ambience mic is one of the more important things that junior mixers don't always utilize. It is incredibly useful to help smooth out mix transitions but more importantly, between the call to "cut" and "roll sound", it is nice to have a mic up that lets everyone listening, boom op, utility, director, producer, know that their equipment is working, and not hear dead silence, or be able to catch AD calls, but not necessarily hear a cast member or your semi-private conversation with you boom operator. It is also helpful for post sound in that they can utilize this non-dialog specific track for many things, for pseudo-room tone, to "learn" noise reduction tools, for improving mix transitions, or even just to hear feedback from the AD or director that calls something out on set the moments after "cut" is called and you pull down faders, but haven't cut the roll yet. It is incredibly helpful to hear a snippet of the crew and creative chatter associated with takes to place problems or note selects.
  12. Arri Amira AES inputs with zaxcom QRX

    Yes you can do that. Go to the QRX extended menu and enable the "AES output swapped". This allows AES output A to feed left channel receiver A (mono) and right channel receiver B (mono). Output B, if AES enabled, just becomes a mirror of A.
  13. Video Chat with Jan

    Interesting to hear about "Jimmy's" habits on set. I had a mutual friend with James, and would hang out with him and his close family some summer days down at the shore. Eventually I helped him with a few things at his Village apartment after his split. He was actually quite introverted, which I found surprising, I didn't think there were too many introverted actors. But while my buddy, a large personality, large and loud Italian (not saying that's a common stereotype I hold - but you know, that was him) would be the life of the party at the card table, a few times James and I quietly sat away from the party and just look on, sipped our drinks, with quiet conversations. I really value those times, not just because he was a star, but because we had things in common. His concerns with his son Michael were some of the same concerns that I had given my own separation from my son, as I had a falling out with his mother - entirely my fault, but regardless, that commonality helped me a little and gain perspective and partially straighten out my act. My time with James was brief and we were of different worlds, but at the time of his passing I felt like I had lost a friend, even if not really a friend I knew, but someone that I had not yet fully met. Full sidetrack of the thread, sorry Dave and Jan, but just watching the video rekindled some good and bad memories.
  14. best preamps in a small 2 track recorder?

    How about a PIX240i or PIX E5 with the XLR attachment, great audio recorder, plus also doubles as an on-camera monitor with tools / scopes and if using a pro-sumerish camera, can record a more robust ProRes format. I have a sort of beat up PIX 240 that I hadn't thought of selling but could, if your interested in going down that route.
  15. Not quite the same but there are some light weight dedicated recording programs like Presonus Capture (when using studiolive mixers), Waves Tracks Live, Nuendo Live... I'm sure I'm missing a few. Most of these are for long form performance capture and not necessarily lots of relatively short takes with heavy metadata requirements, although can be adapted, isn't going to be quite the same experience or deliverable product as a purpose built tool like Metacorder or Boomrecorder.
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