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Everything posted by JonG

  1. 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
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. Digital-analog sync sound

    We were thinking of doing old school sync but vintage style...with Ediphone cylinders
  7. 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!
  8. 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!).
  9. Speedy Recovery

    Welcome back sir
  10. 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.
  11. 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.
  12. 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
  13. 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.
  14. Digital-analog sync sound

    @Marc Wielage, you seem to know all when it comes to, well, all. Any thoughts? My director just spoke with the house that's going to digitize the film. They say shoot at 24, digitize at 24, sync at 24. But of course didn't go into detail. So then do I do 24fps at 48048? I'm getting so many mixed messages, and we don't have a post sup on board yet, so I guess we need to develop a game plan and stick to it without boning anyone down the line. What did y'all shoot at when you were recording files and they were still shooting film?
  15. Digital-analog sync sound

    Yes they are shooting on film. So the 788 should stay at 23.976, and the nagra should just run on Pilotone huh?
  16. Remote Audio Hi-Q Batteries

    Been using RA's HiQ batts since January. Love them, wouldn't go back!
  17. Shotgun vs. Hyper, deeper dive

    Not to be the one to point out the obvious, but what most people refer to as a "hyper" is actually a super cardioid. Check the paperwork that comes with your mics. An mkh50, mkh 8050, mk41, all super cardioid.
  18. I'd be interested to know about those mics. But I get what they're talking about. Which is why I like to use an analog board. On a side note, I'm getting ready to do a film with a Nagra. Directors idea
  19. Lectrosonics SMWB coming soon?

    I too await eagerly a wideband SM series. I've been holding out on buying wireless for quite a while to see if that would happen. As of now I have all SMQVs, and will probably start buying a new round of SMVs. If wideband SMQVs are available I may be persuaded to dip into that pot as well. 100mW is fine for me, my days doing extreme reality are mostly donefore, and that was really the only application I had for a quarter watt. These days antenna placement is more relevant than output power, though a 50mW limit is, well, limiting for my needs. +1 on not wanting to re terminate my wires to lemo and needing special batts re SSM.
  20. @antoine martens thanks for the tip. I'll open it up and see of I can distinguish any breaks by sight. Doubtful. Just have to remember some day when I finish this movie I'm on. No time for rest, no time for play. But on set, plenty of time to lurk the forums!
  21. @JBond here is a 1964 Nagra III, # NP 64 5707. I believe it spent a good amount of its life laying back tapes to film because the record function is disabled, and it came with an original ATN, as well as a working SLP. The poor thing could use a little love to bring it 100% back, but I am not the man for that task, and all the experts I know either won't touch anything earlier than a IV-L, or just don't want to have anything more to do with Nagras.
  22. I used the Skyline folding cart for years. Purchased it from a mixer that had retired and wanted to make space for life It does look almost identical to the PSC carts, except that its top shelf is exactly Nagra sized, and does not extend the actual width of the cart, and the whole thing can fold flat. I really liked how light weight it was, and easy to travel with. I slid it into a cardboard box and shipped it to Missouri for a feature about three years ago, and it was great to have out there. Here are a couple of shots that I took of it when I was looking to sell it. This shot shows a Nagra IV-L with the 7" reel mod on the top shelf. You can see that the shelf does not go all the way to the right side. Below it is my little 633 bag, that just happened to be sitting there. Here's a shot looking down at it. There is a Denecke TS-2sb in a Versaflex case sitting on top of it for no reason. And here it is from the side. I think that's a Sennheiser mkh-70 in a Rycote blimp on the shelf there. You can see a wire cable attached which held pins that would lock the folding joints into place. The only thing I didn't really like about these was that the Nagra sized shelf was a little impractical for today's use, and those front castors made it impossible to go over any sort of terrain. If you pulled the cart from the back, you could go over a cable with a big bump (and likely lose anything not velcroed down), but if you tried pushing this cart castors-first, it'll topple over if it hit something as small as a penny! I mostly used this cart with an SKB case that sat on the larger of the top shelves, and the Nagra dish served as a Lav station. Here is a shot on a rooftop in downtown Los Angeles from a movie I was working on a few years back. You can see my Boom Operator prepping lavs or something behind the cart, using that little shelf. I'm standing in front, no doubt in heated conversation about wireless frequencies or the like, talking to the playback operator who was feeding Phonaks to a band that was being filmed in the scene, but not actually performing. The cart is more or less just something to hold my SKB case up, and the lower shelves held other goodies. Not that fun to move around in this configuration, but it could be pulled along and negotiate narrow doorways pretty well. Just as long as it didn't need to be lifted
  23. Rupert Neve - Sound on Sound Interview

    Here she is on my cart. It has had so many mods done, it really is one of a kind. Sonically, it is far superior to others of the same series. However, unlike the better known 1073 series, this is more neutral sounding with less harmonic distortion, and more dynamic range, but still has a big open sound that you really only get from an analog board.
  24. Rupert Neve - Sound on Sound Interview

    The one that belonged to Nelson Stoll