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Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1

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    Sound of all sorts

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  1. Philip Perkins

    CAS Podcast 1 - David MacMillan and William Kaplan with Peter Devlin

    The lengths Bill Kaplan described going to to quiet the sets of "Unstoppable" and "Crimson Tide" (among others) ....does anyone get to do that these days?
  2. Way cool. Are all those holes in the metal plates threaded? If so, I'm in! I've made several plates like this for myself but yours are much nicer. One suggestion: a version with a NanoClamp or similar rubber-jacket-jaw-grabber device instead of the simple bolt. I often end up using the crappy plates I made for myself this way, grabbing lens-rails, pan handles or top handles etc...
  3. Philip Perkins

    CAS Podcast 1 - David MacMillan and William Kaplan with Peter Devlin

    That was great! More please!
  4. Philip Perkins

    Advice for a novice

    I keep my 416 around because it basically saved my ass a few times. In some locations where I had some kind of mysterious moisture or RF or whatever situation and no time or cooperation about figuring out why my other boom mics were having problems it got the shots recorded. Those calls were close enough that I decided the 416 needed to come with me to most parties just in case. The mic's rep for working when nothing else does is well-deserved.
  5. Philip Perkins

    Film Camera Noise

    The SR2 was noticeably quieter than the SR when they came out. But that was a long time ago, and film cameras get noisier as they wear and all SR cameras are pretty old now. Good maintenance and proper loading help, but only so much. The "blimp" that was described by the OP is actually a "barney", a soft covering for the mag, and usually about all one will get from the camera dept re: noise issues. I don't think Arri ever made a real "blimp" for the SR--a full hard housing for the whole camera like what used to be used with II-cs etc., and if they did no one would have bought it or used it. Film cameras make noise, even Panaflex cameras. I helped with the post on a doc 2 years go that had some interviews shot in 1964 or so with what was state of the art equipment then (Eclair NPR, brand new). Through out the interview I heard a sound I assumed was a radiator or heater in the BG. Then, @ 11 min or so, the noise stopped, and the director let the subject finish her answer before he called cut. I had been hearing the film camera all along, and had forgotten that sound, and how we lived with that sound! The fans in REDs etc cause us problems, but most of the time that sound is far easier to deal with in post than film cam noise! For the OP--use the barney, ask for an optical flat in front of the lens (who knows, they might say yes) since the lens of the camera acts like a megaphone for the noise of the movement, pointed right at the talent! Ask if they have to be so close to the talent (good luck with that), try to not have reflective surfaces near the camera (bathrooms are always great!). Have some vintage filmmaking fun!
  6. Philip Perkins

    Zoom F8n.

    So you take your info from the "industry press", as opposed to hard experience? The U87 may have been the go to vocal mic on sessions you have engineered, but that is very not the case everywhere else I assure you. There are a lot of choices out there, and part of the studio dance is matching mic to voice. Often the best match is NOT a U87. U87s say "high-class recording" in photographs, so they are commonly used as props in staged studio shots for publications and the web. As for cameras....what do you see on your high-end shoots? I see plenty of various Arris, but I also see plenty of REDs, and plenty of Sonys. As with mics it isn't a one-size-fits-all situation in the least: there is a careful balance between the photographic goals of the shoot and budget in play. Re: gear in play vs expectations: in my experience (mostly USA) what gets spec'ed are "capacities", like # of tracks avail, # of wireless channels avail, what sort of backup recording, # of monitor channels, plus more specialized stuff like playback and sync gear. I don't think I've ever had a discussion that included brands, unless there was something unique needing to be done that required a specific piece of gear. You may get an askance look from other crew people if you show up with something that is known to be cheap, but if you deliver what production wants how they want it and are fast + trouble free ultimately they don't care, and the other crew people aren't the ones hiring you anyway. For instance, plenty of very big feature films have had their production sound recorded with $900 Mackie 1604s etc as the front ends. There is no reason at all why a similar film could not be recorded on an F8 or two if the track count and monitoring are adequate to the task and the mixer knows what she's doing.
  7. Philip Perkins

    Zoom F8n.

    Let's start with this: >>Recording vocals? Only high level choice is a Neumann U87 Shooting a feature blockbuster ? Only camera possible is an Arri Alexa<<<< Really? (Not.) Meanwhile: you folks that have decided to maybe drive an F8--just drive on, ok? Enough self-justification already. No need to feel dissed because another soundie doesn't agree with your choice, no need to be resentful because some people use equipment that is more expensive than what you have or can afford right now. Go out there and use the thing, post some files and give us some real-world used-on-a-real-job-for-money reports.
  8. Philip Perkins

    Zoom F8n.

    A lot of misconceptions and non-truths in there, bub.
  9. Philip Perkins

    Lectrosonics issues

    Years ago I had issues like this, and they were related to how I was powering the RX, as well as other gear on the rig, especially how the power was distro'ed and the cabling to do that. If you can power yours with internal batteries maybe try doing that while they are hooked up to the rest of your rig. Do your audio interconnect cables have pin 1 (or the ground) connected to the shell of the connectors ? Do have any continuity between your power box and pin 1 of the RX?
  10. Here's a secret you might not know about teaching: the ability to teach well is a separate talent from whatever it is that's being taught. You can be a great, inspiring English lit teacher and not be a writer, you can be a wonderful memorable history teacher and not be a historian and you can successfully teach filmmaking without being a great (or even good) filmmaker yourself. I've known several teachers of film+video in various aspects, music professors and so on who really fired their students up (many of whom entered the film and music professions), but their personal work in the field was unexceptional. It doesn't matter--and often people who are really great at what they do--the geniuses, are TERRIBLE, impatient, inconsiderate teachers who lack any talent for the job. Another thing: getting together a full course of study for students in any field is a huge amount of work, and the work on the course has to be updated and adapted all the time. Teaching a real class over a whole term or multiple terms is very different from just showing up as an Honored Guest and telling war stories.
  11. Philip Perkins

    Car as "wild lines" booth

    The "record in a car" thing came up because in recent decades I have had almost zero luck getting anything more than a single line recorded wild on a working set, and often not even that (or roomtone). So the car recording is a Hail Mary, often the least bad solution at hand. Sure, if you can rig a up a quiet room nearby with furni pads or bass traps etc, go for it. I find that time available with principal talent is generally so short and the need to keep the G+E and art folks working so great that the car (or van) is what I have to work with.
  12. Philip Perkins

    Zoom F8n.

    Or The Boss's "Nebraska" album... But our implicit responsibility is to provide hifi audio recordings unless instructed otherwise. The choice of how to get there is yours. Which machine do you like interacting with, that makes sense within your economics? I'd like to be interacting with a Cantar on a regular basis, but.....so I interact with a 633. A with-it soundie can make any of the current lower-end machines work great.
  13. Philip Perkins

    Plug for Reaper

    Yes. And there are many things about Reaper that make film mixing much easier. One fave: can have more than one timeline open at once. Extremely helpful in dealing with imports, versioning and deliverables, off line sound design etc. I cannot believe that in 2018 ProTools STILL has that "one-project-open-at-a-time" limitation. I don't agree about Reaper needing more clicks or whatever to cut dialog and make automation either, and I use both all the time. PT never fails to piss me off.
  14. Philip Perkins

    Car as "wild lines" booth

    Have done this a lot. A large vehicle (like a pass van or the interior of a moho) is way better than a small car re "hearing the walls". Obviously drive away from the set if you can--pick your spot. Mic as close as you can get away with to minimize BG. The results are not usually perfect but much more usable that something recorded on the set unless your production is unusually cooperative re: sound.
  15. Philip Perkins

    Editing numerous times – Bad?

    Well, I make a lot of mistakes and thus do a lot of edits to posts, and as of post # 9234 on JW Sound Jeff hasn't slapped me for it yet....!