Jump to content

Philip Perkins

Members
  • Content count

    9,347
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by Philip Perkins

  1. 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.
  2. 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.
  3. Philip Perkins

    Zoom F8n.

    A lot of misconceptions and non-truths in there, bub.
  4. 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?
  5. 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.
  6. Philip Perkins

    Plug for Reaper

    Just a plug from a satisfied customer for Reaper, as a basic but pretty deep computer audio editor etc for location work. I just got a new location mac laptop, and didn't want to spend the $ for ProTools 12 for it (req. for El Cap). Reaper is $60 for the lowbudg license, works pretty much exactly the same PC vs Mac, and I was able to figure most basic things out pretty fast without a manual. Cockos improves it all the time and there is a huge community of users, forums, videos etc to help you. The "higher" functions of a DAW like PT (surround, heavy mix auto, conforms etc ) are probably possible in Reaper but I'm not likely to go there. I just needed a multitrack replacement to Sound Studio and Reaper has worked out very well.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. I'm interested to know how folks are managing their various rechargeable batteries on location, esp the one-soundie-banders who aren't working off carts. How do you keep the used-up ones separate from the topped-up ones--do you have a marking system or a separate boxes for used and unused or ? Too bad AA and 9v rechargeables don't have meters like bigger batteries!
  12. 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....!
  13. Philip Perkins

    Editing numerous times – Bad?

    I thought that was what the edit function was for?
  14. Philip Perkins

    Remote Audio Adapt-a-pak Pro Kit.

    I think most of us just pick up what we need when we need it. Adapters etc are a "sunk cost" in production sound: you can never sell them the way you can a mic or a recorder etc, and the cost adds up. I'd look into a kit like this if I needed to equip a crew or a venue I wasn't going to be around, all at once, like the AV Dept of a new church or school etc, where this kind of thing might be an easier "sell" to the budget folks as a single line-item instead a whole lot of little items.
  15. Philip Perkins

    Advice for a novice

    If you want to know how these mics sound you have to listen to them yourself. How I or anyone else here regardless of experience think they sound is in the end irrelevant to you. Find a way to do mic-to-mic comparisons. This can be done in a pro audio shop (if you are lucky enough to live in area that has such a thing), at a rental house (if you are lucky enough to live in an area with a cooperative one) or by asking other sound people where you are to let you audition their mics. A few words spoken into each at various distances will reveal more to you than reading 50 web board threads on the subject.
  16. Philip Perkins

    Best windscreen for close voice recordings

    The best piece of advice I can give you is to not put the mic right in front of the speaker's mouth. Angle it down at their mouth from above, with the mic in front of their forehead, or angle it in from the side--get it out of the "blast path". Then you can use almost any windscreen.
  17. Philip Perkins

    The "Best client/producer/agency quotes" thread

    With younger directors I now ask if they want slates before the first shot, or on the phone when setting up the job, to avoid any unpleasantness over them. Frequently the productions who don't want slates also don't want any sort of TC or audio gear attached to their cameras either. OK then.
  18. Philip Perkins

    Schoeps CMC3u/CMC5 Amplifier Cleaning

    That is one scary looking CMC. Was that a repair job or someone's attempt at a hot-rod? That thing is so Frankesteined that I don't think you can really call it a Schoeps any more... Do you know the history of that unit? Was it water-damaged or?
  19. Philip Perkins

    sennheiser tx ew100 g2-g3, at 100 mw

    I would really respectfully not recommend trying to mod those wirelesses. Save your $ for a higher fi system. G2/G3 work great for what they cost, a little extra range maybe won't improve the sound of the things, which is actually a way bigger issue than their range.
  20. Philip Perkins

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    Is there a way to make that change in the 788 routing oneself, like on one's own? I ask since I don't think SD is going to devote any more labor to updating the 788 firmware at this point.... It seems like it might work. I should add that the scenario I described above goes double for celebrity directors!
  21. Philip Perkins

    Am I Magliner-worthy? Is magliner me-worthy?

    Hooks for the shelf sides....lovely convenient things....
  22. Philip Perkins

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    I am in the ride with AFMY on this, having had my ass royally kicked over those "2 times a day" when I forgot to close the set feed, or forgot to reopen it when we rolled. AFMY is right about the culture of these shoots--there is a director whose position is tenuous and then a large flock of back-seat drivers, all of whom think they could direct the piece as well as the current director and are ultra-paranoid about their own position within their agency's hierarchy. It is a very charged atmosphere, often made worse by the presence of representatives of the client's client, who is ultimately paying for the shoot. Often prod. co producers spend a lot of energy keeping the agency folks at a physical distance from the set, sometimes ushering a small delegation in and out to speak with the director in person, otherwise they are supposed watch and listen from "the village". On this subject the "strike zone" for the mixer is pretty wide, and in fact this matter takes priority over quality of sound recorded in the eyes of the production company. Having the sort of automateable mute AFMY describes would lift a huge burden off commercial mixers. If SD et al can't help, there is an opportunity here for a 3rd party solution, since many mixers would pay good $ for something that really works.
  23. Philip Perkins

    Question for the Nagra aficionados...

    Yes, people swapped those boards out quite often in the early days of CTTC recording with Nagras, they had no choice since the acceptance of CTTC for sync in post required a whole new suite of very expensive (and cantankerous) technology so the transition was slow. There was a period of a few years in which a recordist had to ask about what flavor of sync was wanted on every job, with a lot of misinformation passed on by clueless production people. (As I said, this was one of the Harvey Mod's advantages--it could do CTTC, Pilotone or nothing recorded at the turn of a switch.) Taking the sync board out is quite simple.
  24. Philip Perkins

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    I asked about some kind of pickoff from the keyboard USB line (on 7xx) and was told it wasn't possible. 6xx is a different deal...so maybe there is hope.
  25. Philip Perkins

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    That is exactly the point. Trust me, on the most rarified of (particularly) USA commercial shoots ANY audio coming through the village headsets when the camera is not rolling will provoke a swift and terrible response from production, often starting with the director herself. That's just how they want it--no audio unless we're rolling. No one wants this to be a feature that could not be turned off, but it is an undeniable fact of life of certain kinds of shoots, with no really elegant solution since digital systems came along. Maybe Aaton could figure this out....even just the outputable switch closure or etc....or Zax.
×