Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1
  1. The FRC is actually too big, I think, much bigger than the F8. I was hoping for something about 8" square....sort of like the Zax mix 8. I also really want it to incorporate a small keyboard, so there is just one "extra thing" instead of two.
  2. I agree if your takes are in the "normal" movie range, like 15 min max, and the cameras involved aren't Reds. Even then, the way we do post now I find the strict genlock thing is really most important for situations where multiple cameras are shooting the same person/action etc, for a long period of time, and it's really just a "help" for post in getting them started: I've also done very long-take jobs (like concerts) with a total mishmash of cameras run by operators who don't really have a firm understanding of how to set up their gear and we made it all work in post somehow anyhow.
  3. I'd keep the 302 in any case. A box like that really allows better use of all the cool pre or post fade moni outs you can make on the 633 (like have instant level control, some routing, immediate kill capability; all with a great limiter/slate mic/tone etc and running for days on 3 Lith AAs). A reminder: the 664, while having more tracks, does not do all the 633+688 style routings, if those are important to you. SD: that's a big Yes Please on a SMALL 6 fader surface for 633 (wired, not wifi). Can it also have a mini keybd in it (like with short faders, so the footprint matches the 633)? Doesn't need meters or buttons! See the Zoom FRC 8, but with a keybd incorp'ed!
  4. No, Tri-Level is needed if you really want/need frame accurate sync between cameras. This has been particularly true with RED cameras when we use them in long-run interview situations where lip sync is important and the takes might run longer than an hour at a go. The way post is done anymore, for situations where the takes are shorter or the the cameras are not shooting exactly the same talent all the time, genlock isn't needed so much. I have not found that there's been any issue with any Arri as long as we leave a TC box hooked up and work in Ext TC, and none of the cams was modified to convert TC to genlock. My tests w/ my Tentacles vs. Lockit vs. Mozegear vs. Denecke have had them all about the same over 8+ hrs, ie plenty close enough.
  5. Someone tell the posties that + or - 1 fr is as close as we work, given various firmware revs in all the gear, different TC gen designs in all the equipment, the latency of various TC reader designs and so on. If the only issue they have is a consistent 1 frame offset then they are lucky posties.
  6. Am always willing to take some abuse to get things like gel frames quieted down. Thank you sir!
  7. Do you mean real genlock or just jamming the internal TC generator, or running in ext TC mode? Arris don't look at ext genlock, so we don't hook up that side of real Lockits to them, just the TC. Their clocks are generally stable enough that sync with pro audio recorders works fine. So the TC output of a Tentacle would serve just as well as any other TC box available. For Alexa Minis working on gimbles, Easy Rigs, handheld, Steadicam or crane arms the nearly zero weight and size of the Tentacle is pretty cool, and I've had Steadi-folks request them by name.
  8. It's really a bummer if Adam L is scaling back his service on Cantar and Sax (and etc)--he did great work.
  9. Were you talking to Adam Liberman, in Portland OR? (Liberman Sound
  10. Who in CA sells these? I'd love to try them out ASAP.
  11. If your clientele will use this thing and maybe pay you some rental then why not? For a lot of us the camera rental house is on the job before we are, so they will have grabbed that rental (if they aren't throwing it in for free). The problems for me re: this kind of thing come from owner-operators, not rental houses--the owners are much less likely to have complete and together packages that include non-picture related accessories. If you work a lot with that sort of shooter then the ABox or etc is good self-defense.
  12. 2 cams isn't much of a surprise anymore--be glad it's not 3 or 4. It's a little bit important to try and establish some rules of engagement before you start rolling, re who accommodates whom. If this is a real setup, ie is planned and lit, then you can map out some no fly and dead zones as well as which camera covers who. If the situation is more fluid, like real verite, then often the priority of my shoots has been A: A-camera B: sound, esp story sound C: B-camera, in terms of who works around who. If what you are doing is actually a commercial being shot like a doc then the usual deal applies, ie sound is always wrong if the mic, a shadow or a soundie appears in any shot. The latter is a dumb way to make a real doc--the sound continuity and getting remarks at their full length will be very important in the cut. It's a tough sell sometimes, but the really great doco shooters I've worked with are always listening to the dialog intently and editing in their heads, so I try to cover what I perceive they think the real story being told in the scene is.
  13. This is a fairly common doco-verite situation. For me my main axe was my boom, as I danced with the shooter around the table and followed the action. Shutting down the fridge and other noise makers (like furnace, AC etc) if you can is a great idea. If there are lights hanging over the table getting them raised up (maybe have a few gags to do that with you, like S hooks, A clamps, wire ties etc) so you can boom under it helps too. If there is a member of the discussion who is central to the story, you might consider wiring them and recording them to a sep channel, maybe more than one person. I don't really like the idea of plant mics for this--too slow, too dependent on people staying put. You'll need the boom anyhow, so I kind of like the simple old school (but more physically demanding ) approach.... I generally find that there is really no time in these situations--it just starts to happen and the camera is rolling. One other note--having a mic on the camera is a great idea I think--sometimes the camera will be closer to a speaker than you and your boom are. I like having a scratch wireless feed of my boom to one chan of the cam, its own mic on the 2nd channel, then my recorder with whatever I'm getting (wires and boom etc), with TC lock/jam between recorder and camera. This gives the editor 3 good perspectives .
  14. I use a different Cedar box in my studio for post.
  15. If the DNS 2 can help you sell the on-set audio via IFB etc that's cool. I went through a period many years ago where we used expanders on the set in the same way some of you folks are using the little Cedar--esp re camera and BG HVAC etc. One caution I learned from doing this was that it can be easy to 1: mask issues in your monitor mix that you might could deal with directly (by turning stuff off, barneying cams etc) and 2: make assumptions about how post will go and what their taste might be (given the rest of the soundtrack components and the edit) about all this, that can turn out to be incorrect, and 3: slip into having the thing on all the time, and maybe in the heat of things succumbing to the temptation to push it a little too hard. Re: the concept of showing post and production what can be done with the tracks re: NR, sometimes it is actually important that the editors hear all that the posties will have to deal with in the dailies, instead of having that possibly be a surprise when the isos are finally listened to.... Finally, know that NR in post is done track by track (much of it by sound editing + mixing as opposed to signal processing), not on an overall mix, so the "modeling" aspect of the NR for post doesn't really work very well.