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Philip Perkins

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Everything posted by Philip Perkins

  1. SONY MDR-7506

    I usually throw the excess coil over my back when in a bag. I applaud those of you brave enough to try and fix those cables--there is really hardly any copper in them to solder at all. For years I did a Toline mod to mine, using Beyer straight cables, but then got lazy and just use them as is. I see them as an expendable--they all bust eventually.
  2. Naked Audio

    Exposed lav mics?
  3. So... Nothing new from SD at NAB, I guess.

    Mediocre or short on some things for the highest end drama etc cart-drivers, but far more than what's needed for at least 90% of location sound jobs, as they are today. (And as they were in the heyday of the 7xx series.) The new MixPres have brought a really high quality well thought out recorder to people who could previously only afford an F8 etc. I don't know how the math pencils out for R+D vs sales income from a new really high end (like Cantar level) machine, but I bet the margins are tiny at best.
  4. Lectrosonics Introduces....................

    I only wish. Now make it have an Ansible mode so it can transmit with no latency from anywhere in the universe.
  5. Zaxcom Fusion Preamps and Known Issues.

  6. Zaxcom Fusion Preamps and Known Issues.

    Are you recording classical music or etc with this rig? If you are a typical JW member, and thus mainly recording dialog on location, all the Zax pres are beyond fine for what you'd need. Look at a list of movies recorded with that gear.....
  7. Withholding Audio Files

    Even back during that dispute on "Salvador" I was really nervous about my liability while I held on to several days of production sound, and that was around comparitively stable and non-fragile 1.5 mil 1/4" tape. Please be very careful with those audio files no matter what you decide to do....think of the cost of a reshoot if something happened to the files and it was determined to be your fault.... This is another reason to get onto a workable solution ASAP.
  8. Withholding Audio Files

    Can't assume. On big jobs that aren't strictly unionized often everyone has a slightly different deal. I say this because withholding their audio files is a bit questionable legally. I found this out after doing it on a movie ("Salvador") many years ago and the result was some tense moments and the pain in the ass of carrying around a week's worth of 1/4 " x 7" reels of audio tape (that had no back up) until there was a resolution. In this case it was actually the grip+electric folks that asked me to do this, since they had nothing to with hold. In other cases the resolution came much faster, after I just sat in my car with my recordings for awhile and let others with bigger personalities fight the fight. I encourage you to talk directly to everyone involved--fellow crew, producers etc and see if there can be an acceptable resolution without a flurry of crossing emails or lawyering up.
  9. Sound Devices recorders - which way to go?

    To me the "easy" style multitrack deal is well covered anymore--I can record track-per-input plus a 2 mix on my tiny QSC mixer very easily, as can most low end digital mixers anymore. With the TM16 that's 22 channels, cheap and easy. But what I think of as "real" motion picture production location sound work, ie in any sort of weather or conditions or location and under terrific time-pressure seems like it demands more portability, speed and ruggedness than ever, even as the required track counts climb. I guess this means that SD/Aaton/Zax/Sax will be around for as long as we do that kind of work, and that the prices for that gear will stay high relative to equipment designed for other sectors of the biz (not to mention prosumer stuff). I notice that folks doing really high-end work eventually overcome the sticker shock of the expensive setups because they handle the work and the environment the work is done in so well.
  10. View From The Office:

    The cockpit @ the National Theatre de la Danse @ the Palais de Chaillot, Paris, for a 2 week sold out run of Lines Ballet's "The Propelled Heart" with Lisa Fischer. This theatre (and Paris in general) has a lot of stairs.... Tough job, but....I could walk 20 ft down a hall from this position and see the scene in the 2nd pic every day....so not bad....?
  11. View From The Office:

    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
  12. I don't know about unrealistic expectations, it often seems like a contract suitable for use with a big vendor who might supply the client with crew, large pieces of gear, transpo etc is the same as sent to a single short-hire free-lancer. To some that might seem good policy, I think it is just laziness. Many small prod co.s get very questionable legal advice on matters like this, and don't have enough experience to understand how the business really works on an individual free-lance hire level. Some of them I've been able to educate, some stick to their demands and thus we don't work together.
  13. You can buy insurance for anything. E+O, etc. But not cheaply. You can sign your modded doc if you are sure there isn't anything else in it you don't like. If you are not sure about what something means (as I usually am) then you need a lawyer to interp for you. Be very sure that THEIR legal dept has an idea of what all of it means.... My fave situation is when I'm sent a doc like this on a weekend for a shoot starting Monday, and the client expresses astonishment that I won't just shut up and sign, with no legal advice, even though I'm not clear on what some of the verbiage means legally and probably don't have the sort of insurance I'm being asked for. What I do understand is that signing such a doc attesting to me having some sort of insurance that I don't actually have could be considered fraud in court, so I don't do it. Am thought of as being cranky for this, sometimes.
  14. You can put anything you want into a contract. Just because you (they) put something in doesn't mean it's right, legal, a good idea or even makes sense. It just means they put the language in. If you don't like something in a contract, protocol is to cross it out, possibly substituting something else you like better. You send it back, and they decide what they are going to do about it. As a crew person I have often found that they do nothing, either because the rank and file production people know the objectionable items are BS boilerplate and want to get on with their job already, or because all that was just a fishing expedition to see if you'd really sign off on something that potentially ruinous. Re the actual language under discussion: I'm not indemnifying anyone, and if they insist that all that crap has to stand and you have to sign off on it to work then the negotiations are over. Do NOT sign docs you can't fulfill the terms of. The company may be expecting that you already have various sorts of insurance that cover all this. If there was a lot of work on offer then you might consider paying for this. For a 1 day job.....please.
  15. Sound Devices recorders - which way to go?

    I've used all the 6xx and 7xx machines, and owned most of them. They all sound great. They all sound slightly different from each other. This was most noticeable in music recording in somewhat controlled circumstances, and not noticeable at all out in the mosh of a go-go dialog prod sound job on location. If you are running out of inputs @ 12 then you go to a higher track count location recorder (Cantar, Deva 24) if you have the $$ or you go with a less complete multitrack like JoeCo or a computer with Boom Recorder and configure around it, or start stacking up multiple SD location recorders in various configs and live with the hassles of multiple media and monitoring multiple machines at the same time. There are drawbacks to all of these approaches, not the least of which is cost and complexity, so you have to ask yourself just how often you will really need that higher track count, and what the working situations will be like. On a stage or interior location? Or out in the rain, on and off of insert cars and in and out of tiny, difficult-access locations?
  16. When Production doesn’t rent your kit

    The joke is that in every case where I have used provided kit the "kit" was incomplete and in a "semi-maintained" state. This situation is how I came by my hardened stance on gear: like AFMY it's me and my gear or no deal. The exceptions are fully-truck, or big multitrack etc jobs where they are using stuff I don't have. In ALL cases, incl jobs where you are getting zero kit rental, producers always expect a certain amount of AKS for free: headphones, AC tester, etc...whether that's right or not.
  17. Deva 24

    Sorry if this has been covered--non-NAB attendee here--is the Deva 24 out yet and has anyone used one enough to comment on it?
  18. Sony Venice Timecode Connection alert

    .....bizarre.... Does it take a jam ok, via the BNC? Is genlock avail on it?
  19. Negotiating: Notes From the Field

    Jan 1. I like to do a call back--am not good at off the cuff surprise phone call negotios. I need a chance to think about it all, even if for just a few minutes, as well as check my calendar about what else might end up overlapping or etc. Expendables are what they are--not my problem. If you want to rent my gear you have to pay for the "grease and gas" so to speak.
  20. Sony Venice Timecode Connection alert

    Wait...you said "timecode out is available at the AUX 5P Lemo" but also that " TC is not connected at the Lemo 5P"....? Are there 2 Lemo 5P connectors? Or just one that has no TC output on it? Thus there is no way to get a TC output from the camera....right?
  21. T power to 48v

    6 Schoeps and 1 416 12T to p48 for me! This has been a great thing for oldsters like me that bought a fleet of Schoeps mics back in the 12T days and hadn't been able to use them w/o p48 barrels in recent years. All those converted old Schoeps are now my "money mics" on location music recording gigs, after years of sitting in the shop unused!
  22. How did they capture this audio? [BBC 1979]

    And the airwaves were practically empty compared to today!!
  23. How did they capture this audio? [BBC 1979]

    Mine too. Solid sounding stuff and better than USA wireless gear at the time.
  24. Sound Devices Mix Pre 6 With Zax wireless

    There has to be some small 1-chip audio ampli you could trick together to up the MP6 output gain....esp if it is for moni and ref tracks mostly.