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About afewmoreyears

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  • Birthday 01/01/1962

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    Firearms, Sport touring motorcycles, Off road driving in Jeep, Sailing, Hunting and other wilderness activities.
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  1. On this idiots cart you will see two Comtek Transmitters on top of the cart with their two transmitting antennas.... You will also see the yellow bar where two Receiving Sharkfin ALP antennas are mounted as stated above by Jeff... with your one transmitter, a Comtek 216/72 or Listen tech unit or an IFB, your boom ops can listen in... On the other unit, also either a Comtek, Listen or IFB you can transmit to the director and or script and Client agency or whomever... Your mixer should have a (1) comm send or more.... use these to route your communications systems... You will be able to send them specific content AND communication from a mic on your side... somewhere, mixer, headset or other..(ext)....
  2. 8 radios, SD Dugan auto mix.. Theres your mix track... then you have the ISOs... But no radios..? wow .. hard spot .. asking about it is a good idea.. 2 booms? has to be a good room.. and they will always have to react to the new speaker... poor way to do it...but, maybe necessary. Overhead(s), maybe if it's an option, or other factors may wipe that out.. you will have to wait and see.. CUBS .. may work OK with 1/2" of soft makeup sponge under the CUB Discs.. maybe 3 of them.. Without the 8 radios, everything else may be a poor choice.. you never know though, sometimes what I think won't work, will end up working just fine. Be prepared for a few options. A great room and the ability of 2 good boom ops , not swinging under lights and you have a chance that way.. but, you need three stars to align. 3 Cubs may sound just fine if placed well. Good luck.
  3. If you can't be on another job, it is always your normal day rate as was mentioned above..
  4. I would highly suggest you yell out "Everyone who has a headset on, take it off for a minute." As loud as you possibly can, that should alert everyone... Great idea!!
  5. I received almost the same performance from my home made versions than from the real things... It was so close I could not tell on my end any significant difference... I say almost because I am sure there is some deficiency, but I couldn't find it. Wind drag because it is a solid fin is one deficiency and on windy days, that matters... especially when they are up 10ft.
  6. Hi Robert, I can't help with your problem, but, my conclusion is, other than a Lectro IFB or a like unit... they all sound pretty bad to me... I have tried comteks 72/216 75a's, Listen units in 72 and 216 and they all sound "poor" to me. I have tried all kinds of headsets too... For content monitoring, they are all fine like you say, but other than a hardwired distro box with a pair of Sony's or other decent headset, they sound poor and would drive me crazy after a while... but, that's me.. An IFB may be your quick and easy way out here..
  7. My contribution to the Shark fin DIY... I used a bunch of epoxy and some desk "through hole" covers to strengthen the BNC area... Have had them for over a year and they work great!!
  8. Are you saying that people used the same CF card with the new 4.50 firmware on it WITHOUT formatting the card back to a clear card before use?? They started their day with a card that STILL had the 4.50.prg file on it??
  9. Or, you can have the guy calling the shots shoot it old school... the way thousands of great movies have been shot... Use the gear you have... Shoot a wide establishing shot... get a scratch track... Shoot some mediums, get the boom mic in a good spot... then move in for tight coverage.... Mics are in a nice spot again... you will then have something to edit, and, YOUR sound with even decent gear will be better than you thought it could be... in fact, it should sound good... As Phillip says, " close miking is no substitute for better gear... " But, I think it sure helps with the gear you have.. especially your 416... A lesser quality mic that may be horrid at 5 ft, may sound OK for a project like this at say 2 ft... Unless you rob a bank, you have what you have so concentrate on how to maximize the end result with that gear. Don't think ADR, think shooting style to suit your resources and mic placement with the mics you have.. That would be my .02
  10. Try a total reset and reload of your set up... Did you actually listen to a recorded take??
  11. I NEVER touch the camera., But, I point, I suggest and I offer insight....But I never touch it.. I would never ever want anyone to touch my recorder, ever.. I respect their Camera, their Dept. and their craft.... I (or my boom op) hand them the Sync box, the cable, the time code slate and I always smile when doing so... I then when I have a moment, I check the box, the code on the camera, the TC slate and do it all again at lunch.. It's their camera, it's theirs to set up and run... I help when asked or when needed but I leave it to them.. I was told once by someone at our union...Hand them the stuff and let them do it.. not our job... I try to be more helpful, but I know what they meant.. This is a team sport... I want to be a team player, but their gear is their gear...I respect that. Timing was mentioned here and that perhaps is the best advice of all... Wait untill the time is just right to deal with all that stuff.. there is a wrong time... You'll know and learn when..
  12. Here we go.... I do not need to stand up for Phillip here, but... Why are you so defensive Field..., it's just an exchange of information, no need to get overly snarky, we're all brothers here... (sisters too).. Phillip does not share your opinion on this matter, nor do I... but it's just opinions, we can agree to disagree.. but try to be reasonably polite here... Mr Perkins is an esteemed member of this community and has been for both years and 8608 posts... he is always polite as far as I can remember, me, less so... but I am trying... take a step back and try to simply voice your opinion on a subject, not ram it down someones throat... I do not say that not in an angry way, but an informative way..
  13. Jon, sorry if it read that way, my sincere apologies... but "NOT" is my way of saying NOT... nothing more... no anger, defensiveness or anything like that, as John says, only my opinion... on a Forum of opinions... thats what we're doing here correct...? We have more chipping away at the stone to worry about than the advent/release and use of an auto mix system for a mix track... back to the subject at hand.
  14. No, NOT always Jon, many know the importance of quality sound and are happy to pay... I work for many of them..
  15. A sound supervisor is not going to mic 15 people, and deal with all that has been explained... Qualified humans will be needed to mic, and maintain all that is going on... not one person... Who is going to run all the bags, carry them, set them up and use them? Your Sound PAs? As usual, as a whole, REALLY only us as a craft can stop any nonsense moving in this direction, ( history not good I will admit) but in the end, it will be poor results from such a "plan" that will ultimately doom any foolhardy ideas for such a direction in Reality Sound. Any "Supervisors" should refuse and scoff at any suggestion to do anything like this.. for their ultimate job and it's security and the craft as a whole... And, because it will yield poor at best results first and foremost. An auto mixer for a mix track has little to do with any of this. In the end it's a dumb idea... On many crews there a LOT of working staff... we, at only a few people, and important people, are not their key financial worry for the amount of bang for the buck we provide... There are 20 other things that financially are more worrisome for the Above the line folks to deal with... Good sound to those who know in Production is well worth our fees.