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daniel

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About daniel

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  • Location
    United Kingdom
  • Interested in Sound for Picture
    Yes
  • About
    london based broadcast sound op.

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  1. On My Radio

  2. Lol, I was going to suggest looking at the TX, then thought I would suggest getting a new door and having the RX in whatever block suited :-) Iron, if you've got some TX across a range of blocks/channels/freqs you could try disabling squelch/pilot on RX and see what you can pick up. Even if your TX don't cover the full spectrum you may be able to extrapolate what the block is by picking up other transmissions (eg TV, emergency services etc).
  3. Sometimes things slip through

    I like to be extremely conscientious about mic visibility on the first few days - just to get everyone's defences down then I leave it to camera department and all those other people whose job it is to look at the monitor and notice. Lol, only joking.
  4. If it has original antenna you can reference the colour of the cap on the end or perhaps even the length on the antenna (obviously this will only really tell you what freqs the antenna was made for but it might be a start. After that I'd try sending serial number to lectro and ask.
  5. ISO's vs. Mix Track

    +1. Obviously having a boom op or not can make a big difference to the outcome but at the very least the mix is a reference point for yourself and whoever else listens along the way. A picture editor told me, that when assembling multi-camera material, it can be expedient to have the synced isos on the timeline (as well the mix) for a visual reference to which shot will have the speaker. Give them what you can Erob, and since 'them' is you, enjoy.
  6. ISO's vs. Mix Track

    I would think your own experience with the workflow on set and in post would probably indicate what is most useful. Eg. Does your production mix save you (or others) time in post and/or gain you appreciation from other departments/production? Eg. picture editor. For me, even if the answer to both of these was 'NO' I would still put resources into trying to do a production mix for good practise but accept there may be other priorities. If the answer to either of these is a 'YES' then I would consider it a requisite part of the job and prioritise doing this over dissipating my resources out of department for example. Even if the mix wont be used in audio post it is a method of QC and a useful reference point, perhaps analogous to having a LUT on a monitor when shooting with a LOG picture profile.
  7. #metoo and sexism in general

    +1.
  8. Wireless Boom Hiss - Sennheiser - Need Help

    Check your frequencies. Sorry if this sound s condescending (i think my first attempt at a reply did so i edited it) but check if you have have phantom power on the input from the RX and make sure you have optimised the gain structure across the system. Don't buy your cables on amazon, go to to someone who makes cables for production sound - its the cheapest part of a system yet scrimping on this can be extremely detrimental. It sounds like a problem between the phantom box and the TX - it's the cables or the boxes
  9. Sony MDR 7506 coiled cable

    Embrace the tangled mess or only having enough of it outside of the bag to reach you head and keep all the other cables tidy. I like having a long HP cable, as there are times when it's useful.
  10. How to hide a Sennheiser ME 2 on talent

    Isn't the problem with used lavs that for some operators and productions they are all but considered disposable items? And how does someone know from appearances how many times it's got sweat and make-up sprayed on the capsule or excessive tension and force has been put on the wire and strain relief or what method of cleaning the previous owner used etc. Maybe good for a back up or for finding out if you like the sound or mounting process but buying used caps for primary usage seems a bit risky to me. Personally I've always use the lavs i like most to work with (Cos-11 DPA) and get the best wireless system I can afford after factoring cost of lavs. I started out with 2020s and over the years moved between UWPs, 411s, G2000s and with all of them i used Cos-11s, Trams or DPA. I'd rather have the caps I can hide well than have best wireless system but not caps I like. There will also be times when you wont need to use a TX and can go hardwired with the cap.
  11. Boom Stand

    Too cool for school! Love it.
  12. Busting the frame.

    i've only done 2 shoots where we could do this. 1 was green screen commercial the other was an on location drama and the shot was going to have a different sky put in. My guess it's an easier 'sell' if they already have a budget for this kind of post production. If you're working with a production company that does this sort of thing it should not hurt to discuss it.
  13. Please Post SIlly Things

    Lol, I live to clap on a new location. Ah, Gymnopedie. I'll try to watch the rest later.
  14. Rates in UK / Europe

    Production has to have insurance, they are not a production company if they don't. Offer to arrange separate insurance for the sound kit but tell them you need to pass the cost on. If they're not paying what you want for kit, don't bring it or use it - I'd take out the camera hops and give them the recorder files - wireless scratch tracks to camera are a luxury (they pay for - right?). If they want audio to camera, bring the cable and unplug as soon as it's a health and safety issue. Have they offered you a contract and payment schedule? Are you supplying a car?
  15. new low cost radiomic

    Which is a nice feature for a recorder that will get used for many things including speech and music but for a wireless lav mic worn by a speaker(?), so much has gone on before the signal reaches the recorder by way of optimising the signal for the technical limitations/demands of wireless audio that, the audio response quoted is acceptable (however good the recorder is after it), possibly more so than other details about the system.
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