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Philip Perkins

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About Philip Perkins

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    Hero Member
  • Birthday 01/01/1

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  • Interested in Sound for Picture
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    Sound of all sorts

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  1. Philip Perkins


    I'd say it was the Emmy board who were the jerks. A union insisting that a "recordist" is only someone who operates a magfilm or multitrack etc recorder or a producer who gets shirty about what their location sound people want to call their jobs is jerky too. Everyone involved knows who does what, and often even a job that is "one-subject/one mic" is much more complex than the number of record channels in play might lead someone who was not involved to believe. IMDB needs to update their list of job titles.
  2. Philip Perkins


    It's a great ting for anything going out live. For recordings, it's best a to leave post a way to work with the unprocessed files.
  3. Philip Perkins

    Do you really work alone on a fiction feature film?

    It happens all the time. Have done it, it was tough. Usually very low budg, produced by newbs. Good opportunity for a newb soundie, even if it is very painful you will learn a lot of things. If you are not a newb, ie are doing sound for a living: not worth it at all unless you are married to the director.
  4. Philip Perkins

    This reminds me of my previous life, minus the Pro Tools

    He's got the uniform: Hawaiian shirt (because that's what engineers wear, right?) and shorts (because it was really hot under those consoles). That studio had the fate of studios in all cities anymore--not enough income for the real estate they occupy.
  5. Philip Perkins

    Our workflow on The Dark Crystal: Age of Resistance

    Ah of course
  6. Philip Perkins

    Our workflow on The Dark Crystal: Age of Resistance

    Forgive my ignorance, but what is the box in the rack right above the Venue, with the big thumb wheel?
  7. Philip Perkins

    AATON Cantar Mini VS. Sonosax SX-R4+

    I don't think the Cantar mini needs a cart unless you want to use a cart. Lots of people "bag" the full sized Cantar, and the mini is much smaller than that.
  8. Philip Perkins

    Our workflow on The Dark Crystal: Age of Resistance

    Nicely done and very hifi too.
  9. Philip Perkins

    Treatment in production

    There was a time when production sound people were semi-stars on the set due to the limitations of recording technology available then, that time is now long past. Currently-working production sound people have to be just as humble and willing to compromise as any other crew member south of the DP, and understand, as was said, that the right people will appreciate their work eventually (most of these people will not be on the set) and probably no one else will, really.
  10. Philip Perkins

    HN-7506 or something else

    I guess I should re-up and retire my old ones, esp if the newer model is more comfortable for fat-heads like me! I've never been crazy about the 7506 sound (esp comp to Senn) but I have so many hours under them now that change would be pretty disruptive, and I like that these are the same drivers as my normal headphones. For those who must have Senn drivers, you can roll your own pretty easily--I still have a set I made from similar hearing protectors to what RA uses that I mounted Senn drivers in, it wasn't that hard to do, but of course then you are on your own for repairs and parts.
  11. Philip Perkins

    Our workflow on The Dark Crystal: Age of Resistance

    Well done! How are you micing the puppeteers? Headsets or? And the playback audio gets to your Cantar via the LS9 Dante feed?
  12. Philip Perkins

    You & #MeToo

    I'm trying to picture a less cowardly person in our biz than you, and failing at it. Maybe you just wanted to be a successful working PSM, but life and history have thrust other roles on you. I say you are doing great at all of it, and thanks!
  13. Philip Perkins

    You & #MeToo

    Serious art can do wonderful things if the artists disregard the "art-museum-dealer-donor-sales" complex and do their work. As usual, if an artist wants any sort of financial support for their work, they have to deal with the current-day Medicis. I think bearing witness is exactly that--getting "witnesses" (listeners) to share in the story so it can be better "borne" by the story's teller-owner. Telling the story is only a partial relief--it can't heal anyone or undo what's been done, but it can make life with that story/history/hurt more bearable. That's why people do it, I think. There is the great passionate hope that someone will hear a story and the next time they see themselves in a mirror realize that they own a piece of that problem, and fix it. You only need to tell the parts of your story you want to tell. That story is yours to tell or not as you please, how you please. My daughter made this extremely clear to me--she was not to be questioned or importuned on her experiences, she would tell them in her own fashion in her own time, as she felt she needed or wanted to.
  14. Philip Perkins

    In ear monitors for production sound

    So--question: is the reason on-air broadcast talent use the old-school Telex style buds with the nickel-sized driver and the curly clear plastic tube because that system transmits less cable noise to the ear?
  15. Philip Perkins

    You & #MeToo

    I agree about art and poetry but I feel like our real story-telling geniuses need to be figuring out a way to configure the stories people should hear in a way that won't have them "changing the channel" right away. What induces people to listen to stories that they don't very much want to hear, because they might have some closely held assumptions, if not their very identity, questioned? I have to say that the avant garde and serious art etc aren't helping a whole lot with this at the moment, in my opinion. It may be that you folks laboring away on episodics that are the ones that have the only real opportunity to address these "stories" to the audience who should be hearing them. I think the image below is a great illustration of the concept of "ambient rage".