Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1
  1. A lot of the generation of soundies that came up thru indie movies of that time started as doco or news recordists, and the directors wanted that kind of more fluid shooting style ("Easy Rider", Cassavetes et al) and saw dropping as much hardware as possible as helpful to what they were trying to do, while doing scenes in practical locations that were possible w/o the reach of a Fisher. Then there was the advent of the very influential Altman all-wireless style, also partly due to a distaste for studio booms and their requirements, and then the lack of good studio boom ops due to there not being a lot of situations to get trained up on them anymore. Also, the reduction in the size of grip trucks over time to carry them in (in my time standard grip trucks have dropped from 10 to 5 to 3 to 2ish tons except for the biggest jobs).
  2. The last film I was on with one all the time was in 1980. After that I would see them sitting in the corner of CineRentWest in disrepair, until Fisher took them all back.
  3. Wasn't there another type of mic boom too? Moviola? Or maybe it was a custom job.
  4. But back then a lot of studios had Mole perambulator mic booms too. When I was a kid in Hollywood (60s) the smaller stages might have a Mole, since I think you could own it, unlike Fisher, and they were much less imposing size-wise (but didn't have as long a reach). Smaller TV studios too.
  5. There won't be any problems on the set? Really? Ever?
  6. Most likely dynamics or ribbons, depending on mixer pref., as in those exterior shots. LDCs have never been very popular for movie dialog work off a boom.
  7. The SD boxes, from 6xx on, are very cool (have had 2), but as an oldster I do wish that the 7xx series had continued. And the recording situation described above is where that design really shines. It could well be that an updated 788 would have to sell for too high a price to be competitive in the world of the F8 etc. But I wish they'd try....
  8. I was hoping those silver buttons were really little speakers. It looks like the world's smallest wireless guitar amp.
  9. You know, I just love making more gear-specific cables. Almost as much as I love buying them. I'm sure there was a very very important reason why they didn't go with connectors that are already in use for this purpose. No thanks.
  10. RE TC: lots of small jobs never use it. It's very like SD to leave a back door for real TC if you want it--many people used the 552's recorder this way: ext. TC box or a connection to a camera etc., ditto Tascam HDP2, and it worked fine in its limited way. I look forward to hearing these new pres. Touch screen! So...what about scratches? Will the touch still work if you have a screen-protector on?
  11. Like Phil says. It's between the seller and the buyer. One reason some of us like to buy and sell here as opposed to CL or Ebay is that here you are often dealing with someone whose posts you've been reading, who you might have conversed with, so there is a level of trust.
  12. Sony TC-500 1/4-track reel recorder (tubes!)--its onboard mic pres. Various non-Dolby Sony cassette portables. SuperScope condenser mic. All the good stuff (Shure M67, Uher Report L, rented Perfectone and Stella mixers, rented Nagra, rented HME wireless, borrowed 815) came later.
  13. Check your batteries! Try a known-new+good one!
  14. It looks like the Left channel mic/line switch is in the LINE position. Try flipping it to MIC? Are you sure your power is good, ie sufficient voltage ie good batteries?