Philip Perkins

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Everything posted by Philip Perkins

  1. A lot of the generation of soundies that came up thru indie movies of that time started as doco or news recordists, and the directors wanted that kind of more fluid shooting style ("Easy Rider", Cassavetes et al) and saw dropping as much hardware as possible as helpful to what they were trying to do, while doing scenes in practical locations that were possible w/o the reach of a Fisher. Then there was the advent of the very influential Altman all-wireless style, also partly due to a distaste for studio booms and their requirements, and then the lack of good studio boom ops due to there not being a lot of situations to get trained up on them anymore. Also, the reduction in the size of grip trucks over time to carry them in (in my time standard grip trucks have dropped from 10 to 5 to 3 to 2ish tons except for the biggest jobs).
  2. The last film I was on with one all the time was in 1980. After that I would see them sitting in the corner of CineRentWest in disrepair, until Fisher took them all back.
  3. Wasn't there another type of mic boom too? Moviola? Or maybe it was a custom job.
  4. But back then a lot of studios had Mole perambulator mic booms too. When I was a kid in Hollywood (60s) the smaller stages might have a Mole, since I think you could own it, unlike Fisher, and they were much less imposing size-wise (but didn't have as long a reach). Smaller TV studios too.
  5. There won't be any problems on the set? Really? Ever?
  6. Most likely dynamics or ribbons, depending on mixer pref., as in those exterior shots. LDCs have never been very popular for movie dialog work off a boom.
  7. The SD boxes, from 6xx on, are very cool (have had 2), but as an oldster I do wish that the 7xx series had continued. And the recording situation described above is where that design really shines. It could well be that an updated 788 would have to sell for too high a price to be competitive in the world of the F8 etc. But I wish they'd try....
  8. I was hoping those silver buttons were really little speakers. It looks like the world's smallest wireless guitar amp.
  9. You know, I just love making more gear-specific cables. Almost as much as I love buying them. I'm sure there was a very very important reason why they didn't go with connectors that are already in use for this purpose. No thanks.
  10. RE TC: lots of small jobs never use it. It's very like SD to leave a back door for real TC if you want it--many people used the 552's recorder this way: ext. TC box or a connection to a camera etc., ditto Tascam HDP2, and it worked fine in its limited way. I look forward to hearing these new pres. Touch screen! So...what about scratches? Will the touch still work if you have a screen-protector on?
  11. Like Phil says. It's between the seller and the buyer. One reason some of us like to buy and sell here as opposed to CL or Ebay is that here you are often dealing with someone whose posts you've been reading, who you might have conversed with, so there is a level of trust.
  12. Sony TC-500 1/4-track reel recorder (tubes!)--its onboard mic pres. Various non-Dolby Sony cassette portables. SuperScope condenser mic. All the good stuff (Shure M67, Uher Report L, rented Perfectone and Stella mixers, rented Nagra, rented HME wireless, borrowed 815) came later.
  13. Here's the view from my position last night for a multicam doco shoot of a performance by Scottish fiddler Alasdair Fraser at a venue in Santa Cruz CA. Great show, crowd went nuts during the encore. The producer had wanted me to cover both doco/verite audio and music recording for the all-day shoot, but she not only listened to my concerns about that and hired a 2nd sound person (Ray Day) to do the doco stuff, she rented good cameras (HDX900), Lockits for all and let me roll my multitrack rig and deliver as files, with the cameras free and untethered to anything. Really nice change from either miles of audio/genlock/TC/video cabling or dinky-cams that can only be approximately synced. Philip Perkins
  14. Check your batteries! Try a known-new+good one!
  15. It looks like the Left channel mic/line switch is in the LINE position. Try flipping it to MIC? Are you sure your power is good, ie sufficient voltage ie good batteries?
  16. I've had many more card issues with my 6xx machines than I've had with my 7xx, although most of my 7xx has been 744 with isn't very demanding use for modern cards. So rather than chase around for cards for my 6xx recorder I think I'd go with SD's cards for them, while what I have and have been using for the 744s (mostly sandisk) have been fine.
  17. Yo Dutch--if you are going to tout your credits then how about a name to search under and/or IMDB URL etc. so we can see too? Apologies if you did this already.
  18. On your 3D shoot--can they paint out booms or is it all a no-fly zone? I've had it go both ways so far....
  19. I did a lot of the sort of recording you propose to do, with far less hifi gear. You are overthinking this, and possibly getting distracted from much more real-world concerns regarding your trip. Will a new F4 work for you? Probably, if you get lucky with a good machine--as with any new machine it's more or less untried. Something like a used 744 (properly serviced) or even a used F4 that has been in use for some time has already proved itself-it seems like most issues with digital recorders happen right at the start of use. Non-scientific non-blind comparison testing of audio gear has nothing to do with "courage", it has to do with confirming the biases you had already. In all but the quietest recording situations the noise floor of any modern pro recorder will be the least of your problems.
  20. Lotsa 744s around these days....
  21. I like swappable batts so generally go w/ Moze etc if I don't need genlock. But I got a brace of Tentacles anyhow partly because they appealed to me as a nice piece of practical design and partly because some Steadi- and gimble etc folks ask for them by name. Can't argue with the weight.....
  22. I borrowed this picture from Mr. Sutoh Takahiro of the FB Zoom F8/F4 group. There has been some discussion here about the advisability of using a tool like the Cedar DNS2 on location: here one is in action. The juxtaposition of a $3k + NR tool and a $900 8/2 file based recorder seemed to me, and oldster, remarkable and perhaps an indication of a direction location recording is going. There have been many calls on this board for recorder makers to up their DSP enough that something like the DNS2 could be included internally--this, and other DSP-hungry audio processes now seem possible given the pace of improvement in digital electronics these days. I have the old-soundie Nagra bias when it comes to the construction and usability of location recorders, so the F8 didn't work out for me (returned it), but I still have to give it up to Zoom for packing so much into such a small box and having it sound quite good. So...if they could do that much in the F8, what's the next step, and who will take it ?
  23. Maybe hitting a price point, maybe not cutting into 688 sales, maybe design limitations of the 6xx deal (that weren't there in 7xx), who knows. The 633-88 seem like they were a clean sheet of paper vs. the analog mixers, the 664 and the 7xx, and I know they did a lot of talking to soundos about what they wanted and were willing to pay for. The community has kind of voted with its feet and wallet, no? That doesn't mean it's the best, it means it balances $ vs features in a way people like, I think. I think there is going to be a new run of machines soon that are cheaper, cheesier and probably much higher tech than what we have now, of which the F8 is only the first. These new decks will do all kinds of stuff but will make older recorders like 7xx seem like analog Nagras in terms of solidity and apparent ruggedness. Ruggedness is expensive.
  24. Almost all the pix I've seen of sound carts in current use are set up for having the mixer sit. The old-style Skyline/PSC/ASC/3-G Welding style carts (which I used for 18 years) were originally designed to have the mixer either stand or sit on a tall chair or stool. I guess part of the reason for this was the gear in use at the time, and perhaps the lack of video assist meaning that the mixer needed to watch the set directly. I find I'm using my current cart (based on a Magliner) mostly standing up again, after sitting for awhile. I think this may be partly a personality issue--I'm kind of antsy in general, and often need to run around and fix or change things since my boom op (if I have one) might be busy or cabled in. There is also a difference in energy I guess, the "Walter Murch" effect of how your mind works when standing vs. sitting. I don't think I'd like to edit audio standing up (as Murch claims to do) but I guess I'm used to standing up for production sound work. It seems like if I do sit down I can't stay seated for long and do my job, so why bother? Philip Perkins