Jim Feeley

  • Content count

  • Joined

  • Last visited

About Jim Feeley

  • Rank
    Hero Member
  • Birthday January 1

Profile Information

  • Location
    Northern California
  • Interested in Sound for Picture
  • About
    sound, journalism, producing
  1. ithinkmumblecoregetsabadrapwhenusedcorrectlyitcanconveytheangstthatyoungpeoplefeeltoday.
  2. And get some solid chops to justify that rate. Perhaps ask Moe and Evan and other established mixers if you can assist them (for something around your old new rate) next time they're working in San Diego. That experience will be super valuable to you...and then in turn to your clients.
  3. More time than that. Your New Mexico neighbors at Lectrosonics say, "The final Channel Reassignment Public Notice (CRPN) that the FCC will publish in the coming months will trigger a 39 month "clock" after which time all wireless microphone operation above 614 MHz must cease. That still gives users up to 3.25 years from today to continue using our gear in the affected blocks and bands." More info here: http://www.lectrosonics.com/US/Wireless-Resources/fcc-spectrum-updates.html
  4. Interesting. So do you work with a sound mixer, or are you OMB? If with a mixer, is audio recorded separately, or hopped to camera? Or just scratch audio sent to and recorded on camera? Or no line at all to mixer's audio and on-camera mic used as guide? Thanks!
  5. Hmm... I might poke around to see if I can learn more about this. Though I'd guess SOMEONE HERE must know more...
  6. No worries Nick! Do you or does anyone here know more about this letter?
  7. That second paragraph is AWESOME! That's as far as I've gotten. BTW- it looks like the letter was sent to Tom Sternberg (a producer of Apocalypse), but written by Eugene Jones. Jones made A Face of War. https://en.wikipedia.org/wiki/A_Face_of_War http://www.imdb.com/name/nm0428054/ Thanks so much for sharing this Nick.
  8. A microphone with a face-tracking small camera and gyros so when a PA holds the boom, the mic constantly repositions itself and remains on axis. Version 2: a small drone with with a face-tracking camera and microphone that remains in the optimal position above talent and uses some of the left-over DSP cycles to remove the sound of the drone rotors. Audio is sent wirelessly directly to post. We in the US spend our downtime complaining about the FAA instead of the FCC.
  9. Plate of Shimp. I headed down a similar thought trail yesterday when I stumbled upon this DSP-powered box: More info: http://www.strymon.net/elcapistan/ Then I remembered the Audio-Technica 895 mic from 15+ years ago...Five elements that used DSP to change the mic's pickup pattern, control proximity effect, reduce BG noise (and more! ?). @Jay Rose reviewed it for the magazine I edited at the time... IIRC, it seemed to be a really neat experiment that pointed to some possible future products...but kinda limited in its then-current iteration. Here's more info: http://www.audio-technica.com/cms/wired_mics/2699aa819e371fd1/ And cameras already use signal processing for noise reduction, color "optimizing", format conversion, AWB, and driving auto focus & face tracking (I think I have this list right...might not). So I too started thinking, with all these (apparently) affordable and low-power DSPs, how would I want to see them used in production sound? And I got kinda stuck in the "save all that signal processing for post" thinking. But maybe I'll become used to built-in noise reduction. Maybe voice tracking to help pull out the voice we want when several people are talking (don't ask me if this is possible or even a good idea). Make mediocre mics sound great, and improve in-field mic matching. Make mumblecore dialog intelligible as you record. Improve scripts. Make interviewees more insightful and succinct. I really have no idea, but hope to see some practical applications in a couple months....
  10. Q: Is this a great time to RSVP for the RAMPS/JWSOUND dinner at NAB? A: Yes.
  11. Consider what role you want to have with this film. Right now, I see at least three on-set roles: camera operator, audio mixer, and I think director. That's a whole lot to keep track of...Even Soderbergh and Rodriguez hire production sound mixers. So a couple specific suggestions: -Think about how you can best help get the best performances, images, and sounds on set. I'd say functioning as a fully-focused director who's not distracted by other tasks is plenty of responsibility for anyone. Delegate so you can be the best director possible. -Don't buy that MKH50 and instead give your boom op/mixer friend both some more money and the responsibility to record audio to his recorder. Then he'll monitor and control audio quality and you can listen to your actors' performances. That will save you money in post and help you get the most out of your actors. -If your budget doesn't currently allow you focus on "only" being the director, do a little more fundraising. You probably don't need much more money, so don't bother with kickstarter at this point. Open your copy of Shaking The Money Tree and hold a fundraising house party. http://www.warshawski.com/books.html -Making a film requires overcoming a huge number of challenges. Eliminate as many challenges as possible beforehand.
  12. A couple years ago, I switched from IDX NP1s to generic(ish) Batteries4Broadcast. The B4B batts are working well. And better: When I first ordered, FedEx misdelivered the shipment; FedEx insisted they'd dropped the stuff off at my house. I contacted B4B and they shipped out another set of batteries and then pestered FedEx (since they carry more weight with them than I do) to figure out what really happened. Turns out FedEx dropped off the box (without a signature...grrr) at a house two streets over, but with the same house number as ours. The FedEx driver came by to apologize, I shipped the now duplicate order back to B4B, and there was no extra charge for any shipping or stuff to me (I presume B4B made FedEx pay shipping). Gotta say, considering the small size of my order, that was nice to see. And the batteries are still working well. So I'm a multi-time B4B customer. http://batteries4broadcast.com They're not the only choice, but glad they took my side when things went south... That said, I'd love to reduce the number of types of batteries I need to maintain.
  13. Just to double emphasize, information on how to RSVP for the party can be found on this page: http://jwsoundgroup.net/index.php?/topic/29206-rsvp-for-rampsjwsound-nab-party-at-this-link/
  14. Hi Everyone, Here's how to: RSVP for the 2017 RAMPS/JWSound NAB party The annual RAMPS/JWSOUNDGROUP party will again take place on the Tuesday night of the NAB Show. Please let us know if you're coming by RSVP'ing no later than April 17. RSVP'ing helps us plan to cook enough food. WHEN YOU RSVP, DON'T ADD COMMENTS SUCH AS "BRINGING THREE FRIENDS." SUBMIT A SEPERATE RESPONSE FOR EACH PERSON ATTENDING. Details are pretty much the same as the last few years and as of this posting, are listed in the header of this page. $30 gets you a buffet of Thai and other asian dishes (including some vegetarian options). The price will include tax and gratuity. The $30 is collected at the door and required to get into our area of Satay. There will be a cash bar. To make sure we arrange for enough food, we need a good estimate of how many people plan to attend. So please fill out this simple form...and provide the secret word(s) to help us filter out Web bots and spammers. Secret words: more spectrum Link to the RSVP form: http://bit.ly/2jW4Y3P Signed, Your Party Planning Pals.
  15. https://www.sounddevices.com/products/discontinued "The 744T was an ultra-portable, four-track file-based digital audio recorder." News to me. And I think news in general. Released over a dozen years ago, it's had a good long life. Heck, I just bought another one. Though I did buy used; I'd guess sales of new 744T have dropped off these days. So thanks Sound Devices. And looking forward to seeing what you release next.