Tom Visser

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About Tom Visser

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  • Birthday 07/05/1972

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  • Location
    Honokaa & Honolulu, HI
  • Interested in Sound for Picture
  • About
    IATSE 665 & 695 Y-1

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  • Skype

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  1. Poorly placed rears will sound worse than a good 3.1 setup. In the down mix, a simplistic explanation of what will happen is that 5.1 surround / back material will use phasing to simulate surround out of the LR. I think that most movies will not suffer from such a setup. Basically you should buy the best speakers that you can. There's nothing wrong with good old fashioned 2.0 setups. The addition of a center channel is "power steering" that makes up for the poor placement of LR speakers, poor placement of listeners, or poor room acoustics, but doesn't add anything fidelity-wise if those factors are not an issue to begin with.
  2. Also sunlight visible metering, would sort of like them to go back to the hi powered LEDs rather than LCD. I figure with only 3 inputs, you don't need a fancy LCD menu, just good old fashioned LCR switches, variable LCF, etc...
  3. For the USA at least, it would be too hugely complicated between 600 / 695 to figure who is going to do or can do what. Just seems like a world of pain to try to take on the responsibility of delivering video data. I have very rarely decided to record an interview on my PIX and turn over ProRES files with audio, but these were for small players where I was the most knowledgable about what they wanted. I couldn't imagine trying to suggest this for a typical production. I still work a few jobs where they want a production mix on camera, and in those cases I do my best to deliver, and mostly successfully. Unless they are working with an older RED or any Blackmagic camera ever made, this is actually possible. I'm happy enough with the sound that a 5D, new RED, or Alexa can record, not to mention the typical broadcast camera that is actually used when this is relevant with real audio inputs.
  4. MKH-8030 (should really be an inline screw on module rather than separate body) 3 channel mixer, 2 channel recorder with sunlight visible meters. multi-channel IFB system, 1 transmitter with multiple inputs, so can be flexibly assigned as agency IFB, Director IFB, VTR playback, boom PL, etc... Zaxcom (or other) boom op system. 1 mic input with 48v phantom (XLR), 1 mic input for dynamic headphone boom set (XLR), Mon/PL output (1/4") powered by NP-F, PTT button (latched on while rolling so operator doesn't have to manually activate), tally light, optional TC display panel for DSLR / action cam shoots.
  5. Some of the B&K mics of this era required 130V phantom power, but don't know if true of the mic in question.
  6. I used to use it on a daily basis at the start of each day too - just to get bang on TOD and automatic UB entry.
  7. Healthy confrontation and getting to be able to handle confrontation is a progressive movement to something different - maybe better. As an international community here, I think it is great for us (as Americans) to be able to communicate amongst ourselves and international participants so that all involved, especially the internationals, get a glimpse of real people's insights into the politics of the USA - who are like minded at least with respect to our trade - sound for film and television. If your the type that likes to "unfriend" and hide behind cozy self-made barricades of good vibes, blocking this thread should do the trick. (is that a feature that still works?)
  8. Looks like a papaya picker and breadfruit (ulu) grabber to me.
  9. Great for feeding Lectro bodypack TC inputs.
  10. With the QRXQIFB it's just the A/B button, to change control between 2 Tx, which is a lot more straightforward than the IFB100/200. Every once in awhile I accidentally change the frequency of a TRX, or am gaining a different Tx than I intended when I'm using my IFB200. The Tx power of the IFB200 is a lot better though and more workable in real world situations. I sometimes wish the QRX has two knobs on top, to allow quick gain changes (and more granular than the suppoosedly 1dB steps - sometimes it seems a lot more than that).
  11. Thanks Vin, recently made the move back to Big Island - GF got a job! I still have my biz set up on Oahu - reality of doing biz in this state.
  12. There's not a lot of user info on this mic, not too common - but anyone have their own experiences to chime in with? It's more expensive than the DPA5100, which is my other logical choice, but I like the fact that it has a traditional mono shotgun capability, more traditional form factor, and actually don't need an LFE channel in the field. The 5100 can have it's LFE filter disabled?
  13. Don't record 96KHz unless specifically asked. Don't even ask permission to if you think it's a good idea. There are a few good reasons to record 96K for certain projects. If it's going to end up being a Blu-Ray music special or special audio disc format, like SACD (in which case you'll either record 192 or DSD), or DVD-A (and even then this is more for marketing purposes than actual technical need). 96Khz latency is a fraction of 48Khz, approaching but not quite half I suppose, but not sure if this is an advantage, since it doesn't really help anyone unless there is a very very picky IEM listener. I believe I could hear the difference on certain material, in certain rooms, on certain types of systems, but very subtle, like how the splash of a cymbal crash sounds tonally, or how some abstract trait of its image decades in a very controlled playback environment, but not anything that I'd be able to pick out in a single playback take (or 10)... only after length intense study and analysis in a context that is totally outside of anything that resembles music enjoyment or dialogue intelligibility trials.
  14. I do mono unless asked for poly. I seem to observe that poly is sometimes a default because it is more portable, slightly easier to manage from a data standpoint. I have received more specific request for mono than poly when anyone cares to show a preference, and it seems to be mostly from Avid users - think that Avid natively handles mono files (perhaps)? My own preference for mono simply is related to the fractured way in which my recorder handles backups throughout the day and is better to burn through a few smaller mono files at a time rather than digesting one huge poly file.
  15. my GF is deaf (or doesn't listen, not sure which), so all Netflix watching is with subtitles on, guess I haven't noticed the problem yet.