Philip Perkins

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Everything posted by Philip Perkins

  1. To be precise, the current crop of recorders actually are mixers as well, with the higher end ones having most of the features of a location dialog panel of a few years ago. Co.s like Aaton, Zax and SD make fader surfaces that make using their internal mixers more like using an old-school analog board. Meanwhile, over in the live-sound and MI world, you can buy an all digital mixer, 20 inputs, 12 physical outputs, page after page of routing and processing possibilities, full remote control from an i- or Android device, full direct multitrack recording of all channels (inputs, sends, mixes etc) to a USB drive for under $1k (open box demo). What's missing for us? All those niggling but needed details: ext. clock, timecode, reporting, file naming, input limiters, DC powering. But the indies have discovered these and are using them today despite their shortcomings.
  2. No. I notice that they only gave us one very short sample of treated speech (that sounded very "sat-on" to me) before they fired up the reverb to camo what the track really sounds like. It seems like it costing $1k and that it's a stand-alone only (no auto-xfer between a DAW and the app) there are other ways to do this work that are more compato with current workflows.
  3. I still have a JL Cooper MCS2 for 9 pin control that will never get used here again--if anyone can use it PM me and we'll work out shipping. It's a nice heavy duty unit with a weighted 3" jog wheel, transport and option keys. Works great with VTRs etc.
  4. The new "little" Sound Devices boxes (MixPre 3)?
  5. Thanks again!
  6. I need to rent some gear in Hong Kong, basically Shure rackmount RX and body pack TXs, as well as a flock of boundary-layer type floor mics (like Crown PCC160). Who has a suggestion of a rental house for me? My web searches have mostly yielded companies who don't have what I need. thanks
  7. If Kudelski had done the same kind of backwards compato thing with the Nagra IVS-TC there might not have been a "Harvey mod". One of the major pluses of the TCS mod, esp at the beginning of its time, was that one could change to Pilotone sync with the turn of a switch on the side of the machine. This was VERY handy back when only certain sorts of jobs demanded CTTC, and the rest still wanted Pilotone. The same changeover in the stock IV-STC required the swapping out of a circuit board, which turned out to be easily damaged.
  8. Folks working or who have recently worked in HK--is 518--578 MHz usable in central HK?
  9. Hey Hench--do us a jangling keys test those wirelesses and let us know how they do?
  10. Was it in Ext TC with a Lockit etc hooked up when this happened, or jam synced only? Frame rates matched? Cables good?
  11. JW covers current technique on this kind of shooting pretty well (I would only add the "thumper" technique, which would not have worked in this scene anyhow), AND the point that with talent @ the level of these folks "all of the above" would be expected to be available as-needed or as-requested. If you haven't already, do check out Steve Morrow's interviews about how he recorded "La-La Land"--he used pretty much all of these techniques at one point or another on that film.
  12. That anxiety was justified, in my experience. Many late-night phone calls from dailies houses accusing me of having a Nagra running off-speed., man.....
  13. thanks
  14. Exactly. If they aren't actually trying to make their on-camera colleague laugh are screw up....
  15. I think the solution is to work as they likely did on "Rosemary's Baby", which is to avoid overlaps from off-camera actors during close-ups, no matter how the actors were miced.
  16. Maybe jump online and look at the Sennheiser docs if you want a diagram for wiring the G3 TX--as was said, a normal XLR etc> mini won't work correctly. Since the rental house kind of hosed you I would feel no compunction about rewiring their cable so you can get through your job.
  17. I don't recall ever seeing a Nagra being used by USA radio reporters. I recall seeing a lot of Uher 4000s (with the Uher handheld mic with the "roll" switch on it) but they went to cassette recorders as soon as portables became available in the early '70s (like before Dolby B was added). Also, USA reporters often read stories over the phone to a recorder at the station. USA commercial radio was very not as concerned about audio quality for news vs Euro radio at all...
  18. When I did more drama, my boom ops wanted external cables that they would tension with their hands on the pole (mostly). This was for longer poles that, as was said, stay long (extended) mostly. For more doco or one-soundie type work, being able to quickly change the length of the pole (sometimes while rolling) is a big plus, and doing this without the cable between the butt-end of the pole and your bag changing length is also a good thing (I say this having done it the other way for a lot of years). Better-made booms try to eliminate internal cable rattle as much as they can with foam spacers etc., but you still have to learn how to move the pole gracefully and smoothly. This is also true of mic shock mounts. Per the 2nd question--no, changing an internal cable is not fast at all. I would recommend having two booms thus.
  19. Thanks. The venue has some gear but there is a long boring story around how we have to do this show that I won't bore you with, the result of which is that I need specific wireless etc equipment. For you SF folks--what I'm looking for is the BBI of Hong Kong...
  20. Most of them aren't "movies". They are "web content".
  21. Were we surprised that they seemed to like the one-mic recording the best? No.
  22. Thank you. It is always amazing to me how often producers or directors somehow think that a lav mic on one actor cannot hear the other voices in the room, that the sound will somehow be as though they were all in separate iso booths or something.
  23. I recall everyone in the location audio biz being very impressed with the IS, but that very few people bought them. It may be that Nagra had already sort of saturated their market (at least in the USA), or that since most Nagra users could own just a single machine they went with the one "do-all" 4.2. The local guys I knew who bought them were mostly travelling doco-style recordists, who didn't need the 4.2 features and had to keep gear weight as low as possible (think tiny airplanes, etc). Also, most of us bought our Nagras used, to save money, and there were no used IS machines available.
  24. Esp those of you who have to work today, and especially those working out of town.
  25. What do you mean by "audio friendly"?