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BAB414

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Everything posted by BAB414

  1. I always make sure when I'm in that overlap range to check which block I'm in. Just one extra step but takes less than a second. Also, A band is not a block and should not be referred to as such (makes things more confusing). It's a band, containing 3 blocks. ['the more you know' rainbow]
  2. Band A includes blocks 470, 19 and 20. It's well documented that 470 and 19 have overlapping frequencies which Lectro made clear when the SRC came out. Are you saying your receiver retuned itself on its own?
  3. Agreed! Love seeing a 552 out in the wild. I just installed mine in my main cart (as the backup) as my 744 went in for repair and I need something soon. Usually my 552 works on my playback cart routing signals out from my interface.
  4. I was going to say the mic as well. Was the input on the 788 set to mic level by chance? I know you said line above but thats the first thing I'd check.
  5. A couple movies ago, I'm doing this intimate scene on a rooftop (for some reason). It was so windy the crew had to be harnessed in. The two actors are right next to each other and whispering almost inaudibly, for the sake of intimacy and for no other reason. It was a "very emotional scene" (I hate that line - they're almost always emotional...). After take 1, the director calls out for me. I run over. "I can't hear them," he says. "Neither can I." I say. The director asked them to speak up a little but they barely gave me any more signal. At that point, it was what it was. I might be in the minority here but I try to never interfere with or adjust the performance unless it's going to be ADR or otherwise mess with the suspension of disbelief (like the loud bar scene example). I want the scenes to be what the actors and director intend as long as it plays well within the rules of physics. Sometimes I ask for more level and the answer is no. They always assume the wires will capture it all. I sometimes have to explain that I, like everyone else, am limited by the laws of physics. In a weird almost nihilistic way, I enjoy the absurdity of it all (sometimes).
  6. Call lectro and have someone do it over the phone with you.
  7. This is my understanding as well. A low cut filter isn't zapping the freqs away like Izotope. It's attenuating them X dB per octave.
  8. Also, if I'm not mistaken, each successive low cut further shaves off the remaining low-end, resulting in more of a drop-off of those frequencies, at least up to a certain point.
  9. I agree. When I do have the good fortune of attending tech scouts, I'm the only one interested in where video village (and I) will live. No one else seems to think about it until the day of. I'm sure all this tends to be different on $20 million+ movies but then again every project is different. I worked on a huge television show for over 5 years that never had sound on a tech scout but I can name two others in my area that always have sound on it. Point is, we all know how important it is but it's ultimately their call and they get what they pay for. I'm of the mind to try to go with the flow when all else fails and not get stressed out when things are out of my control.
  10. I used to be under this impression, but I believe a few years ago, someone at Lectro told me that the inherent gain of the paddles (measured in dBi) is something else and not to be factored into these calculations. Maybe someone could chime in?
  11. Just did a movie where the UPM (and he's not the first one) told me that they don't invite sound on tech scouts as a policy. I told him that it's nice for me to at least know what to expect and to be able to plan ahead instead of dealing with problems for the first time on the shoot day and he kind of shrugged. His logic is, the sound will be what it is and it's an area where he can save money. On this movie, there were so many times where there was a noise we couldn't track down until it was too late. The sound definitely could have been better.
  12. I don't have mine wound up. I just coil it like any other bnc. It might be just *slightly* stiffer than, say, regular sdi cable but I've been very happy with it.
  13. For my MiniCart, I use the Remote Audio LifeBox going to a small Audio Root distro. I had a special dummy Hi-Q "battery" made (powered off the distro) to fit into the cup of my bag so I can quickly add or remove the bag from the cart.
  14. State-side I order my ultraflex at custom lengths from Field Components. Maybe they ship internationally?
  15. Which productions are paying $90/day for an entire earwig system? In NY, Playback operators are charging $150 for a base station and $100 per earwig. Gotham does something similar.
  16. Two possible add-ons: Some cameras have fixed built-in mic holsters, some don't and others might have that as a modular option. Might be cool to include this as a feature. Also, some of the Sony FS/FX cameras can only do external TC with the optional module. Good to have that info too. Not sure which ones anymore.
  17. Tyler are you the one that made the Sound Report Writer App? I'd love to get the app back on my phone.
  18. It was definitely a concern and I don't know if it is recommended but it did the trick without doing any damage.
  19. This is probably a stupid idea but when I had a swollen AA in my 552, putting it in the freezer shrunk the battery a bit to where it came loose. Maybe something similar would help here.
  20. I wouldn't say standard, just the only game in town since the Invisity's were discontinued... until now. If I have to choose, I always go for the analog ones first.
  21. The microsone pack is a transceiver as I understand it. It receives RF from a regular transmitter and transmits it out via Bluetooth. So talent should only have to wear that one pack and the earwig itself. That, plus their regular body mic transmitter that they would have anyway. The range is regular Bluetooth range so talent might not even have to wear the transceiver depending on the shot.
  22. That might work but if you need continuous recording for an extended amount of time, you probably want to be plugged into AC power.
  23. I had an on set emergency where they thought the actors could just be on the phone with each other (as per the script) but there was no cell service. Haha! So I gave the actors the full mix in their ears and they were total pros about it. YMMV. Try to ask or do a test with the actors. They may not mind hearing their own voices at all.
  24. Check out this article: https://www.lectrosonics.com/press-releases/836-gotham-sound-gears-up-for-lost-in-space-with-lectrosonics.html Also, I'm pretty sure there is some knowledge out there from Simon Hayes who did Prometheus (a space-suit movie with practical comms). This article is about The Martian: https://www.local695.com/magazine/the-martian/
  25. That's what I figured. If the routing is flexible in the DSR4, you could do analog outputs 1&2 through superslot and then 3&4 out the ta5 on the front I suppose.
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