Jump to content

Philip Perkins

Members
  • Content count

    8,996
  • Joined

  • Last visited

1 Follower

About Philip Perkins

  • Rank
    Hero Member
  • Birthday 01/01/1

Profile Information

  • Location
    Earth
  • Interested in Sound for Picture
    Yes
  • About
    Sound of all sorts
  1. Guessing this is bad idea.. induction loop in car...

    I've done induction loops in cars--convertibles even. LOTS of amp power ( big car stereo amp with its own big battery), need to get the loop as close to the talent's head as possible. In a hard top run it around the ceiling if you can. In the convertibles I had the loops come up behind the headrests for front shots. Worked fine with old school induction earbugs. Do consider just playing thru the car stereo, that's the easiest deal by far, esp for non-pro talent.
  2. Wireless "bursts" of volume?

    You got hit by a test. Those guys do not care where they go RF wise.....
  3. Looking Into Buying Zaxcom IFB

    I am almost always working alone these days, although the job might be decently large and have a fair-sized crew, and a fair sized village. It is very possible that this village might not be all that close to the set all the time (ie we move setups but they stay put, even to some distance thru walls, say of a large house etc). I need wireless gear, esp. monitoring, that is as stable and dropout free as possible and can run all day on 1 battery w/o my intervention, even though I'm working out of a bag with a small 9v type TX. I stay fairly close to the camera usually, so big range isn't needed for the hop, and I'm from the school of thought that holds that jam-synced TC boxes are a way better camera TC solution than any form of transmitted code. But the Headset-Wearers can end up kind of where ever on, near, not so near etc the set and everywhere in between....
  4. ISO's vs. Mix Track

    The mix track doesn't have to be great, usually, in fact. In Iso-World you do the best with it you can w/ no rehearsal and maybe no take 2, and it is still a mighty useful thing to have in the moment and on through the rest of production and post. You have to make a monitor mix to hear what you're recording, so why not lay it down?
  5. #metoo and sexism in general

    Jan moves to Permanent Hero Status. I wire a lot of non-pro talent. Bedside manner: friendly politeness, and a every task couched as a request. Saying that "I need your help with this" seems to help. With women I often ask them to stick the stickie on themselves in lav. position, having first said "I'm going to point out where", then pointing in a low key manner and then letting them do it. And...some non-pros are just so nervous or wigged out by the scene that I don't wire them unless there is really no alternative...
  6. ISO's vs. Mix Track

    And....there are a WHOLE lot of threads on this forum where this issue has been hashed through from every possible perspective by very experienced professionals. Have a read...
  7. The use of compressors in location sound

    When I was doing a lot of audio for multicam standard def video, oh yes. No headroom and horrible clipping artifacts=need to control dynamics. Nowadays, a little peak limiting is all most people do.
  8. "Standard" Gear Packages

    Pay as used, pass the cost thru w/o markup, I only use batts that I bring (and know how old they are and how they've been stored) with few exceptions. Ditto rechargeables. Batteries are like sound-cards: you only want to deploy ones for which you know their total history.
  9. I love direct outs but in truth most low and mid-range digital PA consoles no longer have them. They have a limited total number of outputs that can be assigned in various fashions depending on their firmware, but even very large consoles no longer have an analog output for every input. I just did a show record of a big musical with 100+ inputs being mixed on a Digico S10, and the total number of analog outs the FOH guy could spare me was 24--the rest he needed for his own feeds. One ruse I've resorted to in these situations is to get the FOH mixer to record at least a 2-mix, if not a prefade track-per-input spread via the FOH console's own recording app (the efficacy of which varies widely among consoles) while I concentrate on audience, hall, and doco audio. Usually they'll need a fast FAT32 formatted USB stick for this. Not a perfect solution (no TC) but I have gotten it to work well in post.
  10. SD688/CL12 Maximum Allowed Power Consumption Warning!

    You can buy an add-on choke, right?
  11. I agree about the bag in the car if there is a safe place to rig it, ie it won't be trampled by talent or overeager grips and ACs (this has happened to me several times) or be exposed to weather etc. and can be tied down well. The old school "radio link to remote recorder" method worked very well but was always a nail-biter, esp in urban areas. (A 2 -recorder method, thus.) I have ended up doing some car-to-car recording this year due to either there being no good place in the picture car for my rig or I needed to go verite as soon as the pic car "landed" and the talent got out....
  12. Lavalier outer jacket repair

    You can try liquid tape (horrible messy smelly stuff) and/or heatshrink tubing. But you will probably want to consign this mic to your "backup" or "B" group since it's damaged and is now prone to breaking at that point.
  13. Sewing Lavs into Wardrobe

    On short-schedule hurry-up jobs I try to only ask if there is no good alternative. On longer jobs like movies and in theatre it is expected and de rigueur. Sew-ins have saved my ass many times, and wardrobe+mic situations that were very bad were turned into very good ones that were easier for everyone once we did it (esp on multiday jobs with the same wardrobe).
  14. What if audio post company does not have the software?

    You are wrong about Audiovision, at least as far as USA users went. I knew several users of it, saw it in action many times close up and to this day it has features that ProTools users have been asking for ever since and have never gotten. It was a very powerful tool, and there was a lot of screaming among experienced sound editors when Avid killed it, and there still is. It was complex and VERY expensive, but for the time it was the shit. Black Magic bought the audio part of Fairlight and seems intent on making an all-in-one app. I wish them luck. At this point their best market may be outside of normal established audio post facilities and users, since those folks are very unlikely to abandon their PT systems and the interop with other users that goes with it, even if the new app is shown to be superior. No one has time for a change of app, or wants to have time, unless the economics turn in its direction and the industry follows suit very quickly. The FCP7 >> FCX debacle was clearly planned and anticipated by Apple: they basically didn't care that they were cutting loose a lot of pro users. Apple has the money to code and make anything it wants to: they could have made an FCP8 that continued the same user interface, fixed problems in FCP7 and moved onward into new features. Instead they made an app for beginners and occasional users--easy, low-learning curve, and as far as professionals go, unfinished. They knew exactly what they were doing, and I'd put money on FCX outselling FCP thus.
  15. What if audio post company does not have the software?

    Me too. A fundamental difference in code and coding method (after all this time)? The Avid coders refusal to be constrained by the needs of an audio app? Marketing, and an idea that audio people don't want a lot of picture gak in their app and vice versa? Adobe Audition is basically Premiere without the picture edit functions, so I guess that's what the marketers think works best for their bottom line?
×