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JonG

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Everything posted by JonG

  1. OT: Best all-round DI box?

    @Jim Feeley last time I was at LSC I saw some Countryman 85s in consignment. Maybe give them a call and see if they still have them.
  2. 2.4 GHz amp in bag

    I've always had the whine from Zaxnet via my IFB100 when at full power. 5 seems to be the magic number, but also being on opposite sides of the bag from the Comtek TX is important. I agree with @RadoStefanov here. For IFB use Comteks if you want good range. The fact that they don't sound quite so good is a good thing. You don't want to invite people to suddenly become a backseat driver because their feed sounds too good. Besides, Zax IFBs are a bit pricey and fragile for handing out to others who routinely drop them and leave them lying about. Comteks are the perfect solution for range, price, robustness (well, maybe they can be a little more robust), and lack of clarity. Getting back to that amp; I really would not recommend having it in your bag. They are very powerful, will fry your avocados as stated above, and have not been approved by the FCC (though the documentation and labeling says otherwise), so they can be quite hazardous. I use one on the other side of my cart only in situations where I'm really fighting for range or due to RF congestion at some locations. But my only use for Zax IFB is for camera hops/tc. If all else fails, a comtek and a lockit will due just fine.
  3. 2.4 GHz amp in bag

    Be careful, if you zoom in you can see that the amp is racist. Also you can find these on amazon.
  4. Nagra repairs

    I've heard tales of in the field repairs from Blake Wilcox at Wilcox Sound. I don't know of his level of expertise or if he even remembers what exactly he did, but it may be worth a call over there to see if you can pick his brain.
  5. Sometimes things slip through

    Lack of sonic perspective. +1
  6. The use of compressors in location sound

    For the mix track it's fine, but post will want the ISOs untouched.
  7. Zaxnet Slate

    I velcro an ERX to the back of my Denecke slates. Works like a charm.
  8. Wireless

    Agreed. Until you've done a lot of homework I don't think anyone should be posting problems or questions. After graduating from an audio school and working professionally, I found this site and read it for a good nine months before ever daring to post anything. This was back in the good old days when people would speak up about what a "good" or a "bad" question was. When the Senator patrolled these waters Point is, read, learn, try for yourself. Everyone here has their favorite gear for one reason or another. All brands have their good points and bad points, but the reason one prefers one brand over another is personal.
  9. Staff Me Up

    I think that people should concentrate on building their own network and not bother with those sites.
  10. Echo Park Horrible RF

    I've had really good luck using the Venues smart tune feature
  11. The moment I heard about the spectrum sell off, I sold all my 600mHz gear and purchased new gear in safer parts of the spectrum. That was maybe two or more years ago. I knew that by now the market would be flooded with 600mHz gear and they would be going for really cheap. So in order to make my money back I sold it right away.
  12. Can we just ban aerosol spray cans? Those are an environmental disaster themselves. Most products that use them are also available in a pump spray container anyways.
  13. Digital-analog sync sound

    I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like this, please chime in
  14. NFL sideline mic

    I've done it using a 416, and didn't think that the results were very satisfactory. So this year I tried an mkh70. The results were waaaaay better and the camera man was quite impressed. But it was a lot more work for me. So the answer to your question depends upon the answer to this question: What is it that you need to hear? The sounds of the players on the field or the conversations of the coaches and pep talks in between plays at the bench? A parabolic mic is great for hearing the players on the field, but to hear anyone at and around the bench, I'd say choose a mic with decent reach that is light yet robust, and an appropriate length boom pole.
  15. Digital-analog sync sound

    Yes I did record out from the Nagra and back into the 788, but I'm almost certain that post will go through and use my ISOs to do a proper dialog edit. The director expressed interest in running that edited track through the Nagra. Will see.
  16. Digital-analog sync sound

    Since there was no post production supervisor, and I got a lot of different answers and opinions here, I didn't roll TC on the Nagra. I was 24fps on the 788T, and used a 4.2 at 60Hz per @Philip Perkins suggestion and we used a dumb slate. If that is inconvenient for production then next time they need to have a plan in place. That's about all I could do.
  17. Digital-analog sync sound

    I will say that the workflow on the film was a lot more enjoyable. Just before this film, I was working on another with an Alexa where we would do endless takes of every shot imaginable so that they could have "options" in post. Basically, another director without a vision or a plan. I don't consider that to be film making at all. Working on a film using 35mm did reduce the endless rolling and they would actually block and rehearse the scene and camera movements, so that when we did a take, it meant something. And we would only do one or two takes, then move on. I had forgotten what a privilege it is to work under those circumstances, and it makes me kind of sad that the "options for post" model is what is the norm and is likely just going to get worse in time.
  18. Digital-analog sync sound

    We were thinking of doing old school sync but vintage style...with Ediphone cylinders
  19. I know that my 4.2 and STC are heavily modded. These are a pair of the Dan Dugan hot rodded Nagras. So it doesn't surprise me that the lid is a frankenstein. Many other aspects of these are different from how they came stock, which is kinda why I got them in the first place. I love this thread though, learning all kinds of great stuff!
  20. Not to hijack the thread, but I have some questions/observations regarding the lids and hardware that fixed them to the bodies (hinges/locking mechanisms). I recently got a 4.2 and an STC. Both have 7" reel adapters, but the previous owner put Velcro on the lids, and now they're pretty grose. I'm trying to find new lids which is already difficult. But now I am encountering the issue of compatible hardware and mounting holes. To understand what I mean, take a look at these: NOS lid I picked up yesterday at Wilcox Sound: The front of the lid has two center screw holes and individual holes on each side. The back has three holes spaced evenly apart for hinges. This STC has two screw holes in the front for the lock, and two sets of two holes in the back for the hinges. This 4.2 has two centered holes and single holes along the sides of the front for its locking mechanism, and two sets of two holes in the back for the hinges. This III has the same locking mechanism in the front as the 4.2, but an entirely different hinge system. This IV-E has the same setup as the STC but the lock is red to match the machines finish. This IV-B has a totaly different locking mechanism, but still two-hole hinges. And I have an IV-L (not pictured) with the same mechanisms as the B. Given the diversity of the different systems, I'll wager that this is going to be a more difficult venture than I had initially thought! If anyone has any experience with these matters, I'd love to hear your stories on the subject (and if you have a fitting lid that you're willing to part with, please PM me!).
  21. Speedy Recovery

    Welcome back sir
  22. Indy film aftermath- my sound experience

    Glad it ended up well. In my experience, buying equipment for your sound team to use is usually a bad idea because the team you hire will inevitably have better gear of their own. Planning for things in advance, such as wardrobe fabric choices or locations where you can control the noises and dampen the acoustics will do wonders for your end product. While film making is a hobbie for some, it is always worth doing well, or not at all, especially for sound. Saving up to pay professionals will yield better results every time, and you don't have to waste your budget on buying equipment that will often be less professional and difficult to resell.
  23. How to hide a Sennheiser ME 2 on talent

    I never had trouble using a typical mole skin sandwich. Just keep trying, you'll figure out a technique that works.
  24. DPA 4017B Vs CMIT 5U

    I've used the 4017, and it's a very good mic. I have DPA lavs and Scoeps mics cmc/mk41 & cmit5u, and they blend very well with the lavs. Personally, I think that DPA vs. Schoeps mics is splitting hairs, but I still prefer Schoeps. I've had a few experiences that made me lean that way and I see no reason to switch boats. However, if you do go the way of the DPA, you should give me your Schoeps mics
  25. Digital-analog sync sound

    Thanks for your input. Still gathering information, but I think you're right @Philip Perkins the TC on the audio files doesn't matter all that much since it can change. Since the scanning house says 24 in a question about 24 or 23.98, I'm going to guess that we will have a 24fps workflow and the editor can convert to 23.98 upon exporting the project. As soon as we line up a post team I'll verify that, but there's a chance that it won't happen until the film has been shot.
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