Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1
  1. Nearly all the stories I hear about the use of mix assist or automix or whatever name is used for it start with the same sort of situation--kind of too many people talking in an undirected manner in a noisy location. I see it as a thing to help you get through a bad day at the office--not something one would deploy unless one had to. But, as a professional, you have usually have to play the cards production deals you, so having a tool handy to do so seems like a good idea.
  2. Do you mean that the TC metadata of the MP3s the F8 records isn't readable by BWF Widget? Can you see the TC in the "Movie Inspector" window of Quick Time? Do apps like InqScribe see the F8 MP3 TC? That would be good to know.....
  3. We generally mix TV (esp docs) with music and FX in LR and surrounds, with dialog in the C--this is our daily-MO default. However, theatrical feature films very often "diverge" dialog across the LCR somewhat, partly to not leave audience members sitting at the sides of a theatre feeling like the dialog is coming from far away (across the room in fact), but also because some directors want there to be a more spatial feeling to the dialog, ie a character that is on the left side of the screen has their voice coming both from the C and from the L channels. In animation this effect is even more pronounced. Re: LtRt: although some networks still ask for it, some now specifically forbid it in place of LoRo (straight stereo): esp. USA PBS. In general I find that hardly anyone is broad- or cablecasting LtRts anymore: they do Lo Ro or 5.1 and stereo listeners are hearing a downmix of the 5.1 done in their own equipment. It used to be that we liked LtRt for festival use (could play fine as mono, stereo or decoded back to 5.1) but almost all the festivals I've sent mixes to in the last couple of years have gone to electronic delivery of DCPs, and they are getting mostly 5.1, or at least LCR.
  4. Wave Agent only reads wavs. I wish they would upgrade it to read ID3 TC off mp3s too.....
  5. Besides asking Soundcraft support, you might consider buying an hour of a bench-tech's time to look at this, and get advice on if it is fixable (and the general health of the board).
  6. So far they say no MA or AM, not enough DSP, ditto with 664. But there is a lot of interest in having this feature in retrofit? SD has never done that--a hardware upgrade (except for hard disks), they usually come out with a new model. But who knows?
  7. There is a family resemblance to the Cameo I'd say. I'd also guess that Glenn has owned the Zaxcom name for a long time, so who else could it be?. Maybe it was a one-off for a particular venue?
  8. It's been mentioned before, but a mini-6 fader etc CL12 usable by the 633 would probably sell very well.....
  9. Do you have this:
  10. You are prob right-something electrical in the building--could be a security system, lighting control etc, and even how the two or something else are interacting in that space. If this is a short-time location you'll prob have to tough it out. If you are shooting a whole movie in this space, or a lot of it, then it's time to start running through the breaker panel, and checking with the building management about what's going on. I usually try to find out if the location is a freebie /low-cost thing or a regular fee-type deal. If it's the latter then I'd get locations and or production on the case right away.
  11. Are you playing back real 5.1 mixes on the LCR system? Just dropping channels is not a downmix....
  12. The resolver I had didn't look anything like what The Film Group shows, but worth a call to see if theirs would work with your Sony, if they actually have any--maybe they still have rental units. It would be a little surprising if any of that gear was still available for sale in 2017, but back in the day they were The Dudes re sync sound on super 8.
  13. Are you using this drive in a 744T with the Sound Devices SATA adapter kit? And the Samsung SSD you mention has lower power draw than the 250 GB disk you removed?
  14. The trend has been to make the camera be the recorder of both pix and sound in a "one piece/single system" rig, over many years now, this being considered the most flexible arrangement, with good reason. A camera can be made to be a decent if basic audio recorder (Arri, Sony F55) and can be fed wireless audio by a number of pretty sophisticated systems these days. Picture recording "off-camera" still requires a cable, a pretty stiff and uncooperative cable at that. As I said, this has worked for very specific sorts of setups (esp old-school multicam video), but is probably too inflexible, too hassleous and too slow for what current directors expect, I'd say.
  15. It's a nice offer but an SLP won't help you--it only worked with Nagra IIIs (and nothing later). I had one for my Nagra III and it worked pretty well, but not as well as the SLO did on my 4.2. I was very chagrined to find that I could not use the SLP with my IV and 4. type Nagras...