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Philip Perkins

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Everything posted by Philip Perkins

  1. I am not looking to start a political discussion here. I'm asking about what the real effect on the tax situation of what I think of as a typical JWS member will be of the new tax bill that seems likely to pass in the next few days. By typical I mean someone who is running a 1-person indie sound business, mostly as a location sound mixer using gear they own themselves, and who has many currently deductible small-business type tax expenses. I've read everything from dire warnings about the loss of any deductions for home office, tools, office supplies, advertising, travel, phone, mileage, continuing ed., etc etc to others saying that all that isn't true. What does anyone know about this, substantively? If you have a tax advisor, what have they told you about this? Again--I'm not wanting to start a pro vs. con or Repub v. Demo discussion here; I'm looking for practical strategies to deal with what kind of looks like it will be the new tax reality for many of us.
  2. M/S mic for documentaries

    Audio recorded on a DSLR is compromised in any case, adding a higher-fi (thus more expensive, larger and heavier) mic will not change that. I thought were talking about MS or on-camera mics for video cameras that can record at least decent audio. Those little plastic shotguns, by whatever manufacturer are fine for DSLRs.
  3. M/S mic for documentaries

    I was referring to mics whose weight, size and price would make them suitable for being a dedicated camera mic. A 418 is 11 inches long, a 4290 is 9.3 inches and the Sanken is nearly 12 inches, all w/o a connector. All 3 are very expensive, not something I would buy just for on-camera use even if I could figure out how to mount them on the smaller cameras now being used, so that they don't get into wide shots (esp with a softie on).
  4. M/S mic for documentaries

    The M in most MS mics is a wide cardioid. I want more "reach" than that, esp for an on-camera mic.
  5. M/S mic for documentaries

    That's not a strange question at all--it would be my FIRST question on a doc I was recording. On most of my jobs I am recording the master audio (mix and isos) on my rig, but I want a mic on the camera for those moments when the shooter pulls the camera off the sticks and goes rogue. What we're going to want out of those moments is dialog first and foremost--we can fix everything else well enough. So I really want to know how that signal will mono. I have to say that I'm not thrilled with the idea of a camera mic being MS unless that is an important part of the concept of that project, from the pre-pro stage onward.
  6. Absolute UTC-based Timecode?

    Several years ago a friend of mine used that TC as the basis of sync between recordings being made on several continents at once. I understand that it worked in the main but not without issues. Cool idea though.
  7. Nagra Stories Sound-men won’t ever tell

    They didn't record the album on a mono Nagra. The film crew making the "Let It Be" movie used the Nagra, with whatever feeds they got from the music engineers. They were able to capture some great between song dialog moments (my fave is George telling Paul that he'll play or not play on the song, like whatever) as well as the music. No mean feat with the prod sound technology of the day (Nagra III, BMII or III).
  8. Headphone

    I think the diffs between a headphone mix and a speaker mix (as JR says) are a way bigger deal than diffs in mixes done on various headphone types (above a certain quality level, esp BEATS phones). I use Sony 75 etc because I know them, have internalized what they are telling me after decades of use. I had hoped that that same consistency would apply when using the Remote audio high-noise phones (that have Sony 7506 drivers) but it's kind of not true. On location music gigs I often find myself using normal 7506 for mic placement and setup and then switch to the high-noise phones when the music starts.
  9. Np-50 Bulk Charger

    Sorry to be dim, but what equipment uses these batteries?
  10. Playback rig

    How simple can you get away with? Will you need to edit on-site (under pressure)? Do you need multitrack output? Do you need to be able to sync playback to external clock? Is production going deliver you audio files, or audio files with LTC or audio files with metadata TC or ProTools etc sessions?
  11. +1. When we were using BR all the time we decided our limit for live recordings was 24 chan per unit. More than that and we synced up another interface+laptop. All of our use was on sync type shoots, with ext clock to the interfaces, we never tried the 100's of tracks thing in BR running on internal clock. +1 also Reaper (lean and mean).
  12. NEW: Timecode Systems | UltraSync One

    I'm sorry, but this sort of issue has been solved for a long time. You jam sync two (or more) reliable TC boxes to the master recorder with good batteries, and everything stays in sync for 8+ hours. The cameras can be on the other side of a metal wall, up on a crane, in a submarine underwater or in an aircraft flying overhead--sync stays good. Why make this more complex with the addition of wifi or anything involving wireless transmission?
  13. Studiomaster digiLivE 16 - 12volt DC input mixer

    I understand how you feel, but the guts of a mixer like the one being discussed here are in many mixers of different shapes and brands and come from the same factories in China. So if you have some familiarity with a few you probably know the drill with many more. I've seen plenty of bad words about 01v96 consoles, but the good outweighed the bad for most professional users needing that deep a box, going back many years now. Many of us who have been doing location work for a long time understand how difficult it is to make a high-fidelity, versatile, rugged, relatively small mixer that will work on DC, let alone only 12VDC, so we are a little skeptical. If you decide to get one of these and do some work with it please report back. It would be good for everyone if it turned out to be a great box.
  14. Why won't my 633 jam TC to Alexa Mini

    The 1-way cables I use the most are stock Ambient items (Lemo-Lemo).
  15. Studiomaster digiLivE 16 - 12volt DC input mixer

    Somebody somewhere is mixing a lowbudg movie with this thing. I hope the iPad deal doesn't bag them (network, update, thermal etc issues) and that the headroom is ok. A movie done on one of these would be a good lesson in why higher-end gear is the way it is and costs what it costs. In the posts above there were a few digs @ QSC re TouchMix mixers. I have to say that their support has been great given such a cheap device (they answer their phone, for starters), they keep working on the firmware and show up on their Facebook group to answer questions. As a mixer to do a real active mix on it blows (one fader at a time on an onboard screen, with outboard tablets+phones too if you want), but as a utility mixer for a band, for AV etc etc it's pretty great. Good sound, very deep routing, good FX, scene memory, can record full MT spread @ full bandwidth to a USB stick, no bigger or heavier than a normal laptop. And CHEAP.
  16. Why won't my 633 jam TC to Alexa Mini

    Moze, Denecke, Ambient, Tenta all playing fine with Mini here. I repeat--if you have an issue, find a camera rental house, make nice and do some tests.
  17. “Upgrading” Wires

    Most didn't really care or want to know about techno stuff, in my experience, as long as they had confidence in you, the soundie, making them sound good. The few that have been interested were usually also VO guys, who had their own mini studios and thus owned gear themselves. I have found that actors with good, well trained voices sound good on almost any mic....they just are sometimes a bit better on one or another (in the few instances when there is time to try different mics) and with lavs exactly where you mount the mic and how many layers of what sort of fabric they are hidden under prob makes of a difference, often, than the mic choice.
  18. There was some chatter years ago when SD cards started to become more available about using them in adapters in 7xx Sound Devices machines. What I recall was that doing this was less reliable than using the correct (in that case CF) card. If the Tascam isn't fussy about CF cards then I'd recommend just having a couple for it (and only it) in the kit. When you do decide to sell it they'll be a value add for the buyer.
  19. “Upgrading” Wires

    Ayup. The diff is sometimes really astonishing.
  20. M/S mic for documentaries

    The Neumann RSMs are kind of too big, too heavy, too sensitive to handling and wind to be a good choice on a camera. Maybe one of the lighter AT one-point mics? (825)
  21. Sound is no longer respected on set?

    Well, at 43 years in I can say that even on smallish old time (for me) shoots there was an understanding that there would be more than one take of most shots, following a no-shoot rehearsal. This was particularly the case if I was expected to mix two or more mics to mono as part of the action. It wasn't a respect thing so much as an acknowledgment that it took some time and rehearsal to get the shot right. There is hostility to this concept now, either because working that way is thought of as obstructionistic in light of the new technology or because we are interested in picking up on "real life" or "process" etc where everything is shootable and shot all the time.
  22. A question on MS recording for film

    I lived through this period as well, and it was not just PBS that got into demanding this (for awhile). In that all we had in the field at that time was 2 channels things, as was said, became very messy when trying to do normal verite work (maybe with a split boom/wires mix, or sometimes 2 booms split or wires on opposite channels to split a problematic one etc etc) and then we suddenly need MS ambiance... At the behest of some directors I boomed some dialog scenes in stereo, with no place left over to put any wires or plants...and no real ability to pattern-off BG noises etc Working alone with a minimal package it kind of sucked, and then I found out that the editors sort of didn't know what to make of those tracks and were just using them as mono....that was the end of that. I had bought a Neumann RSM190i to do this work with, which then became a mic used for sfx gathering on nature etc films and a boffo drum overhead or center-choir mic...
  23. Sound is no longer respected on set?

    It's not universal, but I have seen a shift in the commercial world from the directors and the agency enablers being filmmakers of a particular kind to being (just) branding people, without much of any vision beyond The Brand as far as the spot goes. The spots are way less important to them than how their logo looks on a website, the social media buzz and if they can get someone on a talk show to mention their brand...
  24. Sound is no longer respected on set?

    AD's work for the director and producer and while they are usually highly capable and creative people their next gig comes to them because they minded the clock to a fanatical degree. So many AD's end up being punching bags for narcissistic directors (and DPs) that they sometimes resort to demonstrating their fealty by publicly steamrollering crew people. It's a sick situation, and results in everyone hiding who can hide. The sound dept, esp if you are working alone, can't hide. So, often we take the heat for everyone. We've all had the experience of working for an AD who makes it clear that they don't really care whether or not you get usable sound on that shot/scene/job. At that point some diplomacy well-grounded in applied psychology may help you, except on those days where nothing and no one helps you.
  25. Sound is no longer respected on set?

    The main diffs come down to how a director gets a good sound track anymore: the means, the costs, the time involved. All crafts involved in movie production have been demeaned by technologies that make the work faster, easier, simpler, so the people doing the work are considered less important than they once might have been. In sound it is really down the change from a PSM making a mono mix on location that was the only sound the director would have going into their edit to being able to have a wire on every speaking part going to a separate unmixed channel on a multitrack recorder, followed by the ability of computer-based sound editing and mixing systems to work with those tracks in a fast and efficient manner. This has fostered the trend of "shoot the rehearsal", having every shot a multicamera shot, and not worrying a whole lot about location BG noise or even quality of vocal performance. This trend exists because it works, for a lot of filmmakers, well enough. It isn't anything that a PSM can fight or even resist a whole lot if you want to work. Some of us still make mono mixes on location (in addition to recording PF isos) because we see value in those mixes, but we pretty much don't expect the kind of rehearsals or time allowed for adjustments on a series of takes that we won't get anymore. Sorry. Yes, it was kind of more fun in the old days.
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