Jump to content

Bash

Members
  • Content count

    790
  • Joined

  • Last visited

Everything posted by Bash

  1. Camera operator dies on set

    Mark was brought up into the business - his father was Douglas Milsome, who was a very well known operator and then DoP for Stanley Kubrick. Mark was just on the cusp of operator/DoP and was an absolutely delightful breath of fresh air to work with. Not a hint of attitude or self importance. He was quietly confident, and let his work speak for him. He was one of the most human and easy going people I have ever met and worked with, as described by someone yesterday, a real gentle gentleman. Everyone over here is stunned and shocked. I have heard no more details of what actually happened, other than a car stunt went tragically wrong. It really is very, very, sad. Simon B
  2. How often do you get clean lines on lavs?

    But... at least with modern reality you are dealing with modern clothing, which tends to make for less game ending situations than period costumes (especially if wardrobe insist on old fabrics). My pet hate atm is circa 1900 men's shirts - the ones with a kind of cardboard collar and bib arrangement at the front. It is basically a sheet of creaky cardboard in the exact spot where you want to put a lav mic. Happy days.... sb
  3. Audio LTC Framerate conversion?

    It shouldn't really be a problem. sb A second will still last a second, so - even if the sync point is nearly at the end of a second... the maximum error should be only a frame at te point of sync. You should be fine.... sb
  4. Soundfield/Ambisonics delivery workflow

    Be aware that on a Zoom F8, with the latest software, you can record A format on 4 tracks, and B format on the other 4. Likewise on the Sonosax SX-R4+ (it is coming very, very, soon). The B format conversion occurs within the machine at the time of recording. just saying....... Laters..... sb
  5. Delivering files from multiple recorders

    Regarding the ALE thing. Avid uses the BEXT chunk to derive track names. Only the first 8 track names will be in the BEXT chunk on account of size limitation. So - if you have poly files with more than 8 tracks, Avid will only load the first 8 track names. If you import an ALE file into Avid, it can find the rest of the track names. Yves-Marie Omnes and I have been 'working on' Avid to try and get them to use iXML, and they would then be able to import all the track names. Bourke - if I sent you some mono tracks from an Audio Ltd 1010 digitak radio mic transmitter - might you have a look at them please? They dont have proper start times, but I believe the TC value is written into the filename - would you be able to incorporate these into a poly merge with other files? Many thanks, Simon B
  6. NEW SMWB and SMDWB Lectrosonic units Announced..

    I think to be strictly accurate... Zaxcom has a patent on a 'virtual multitrack' system, but I dont want to hijack this thread...... sb
  7. Neumann RSM 191 Matrix box needed?

    Wow - so my grey matter still works then ;-)
  8. Neumann RSM 191 Matrix box needed?

    Now.... if I remember correctly....... There are two issues. The first is the powering of the capsules in the mic, which has been dealt with partly above...... The second is the business of the capsules within the mic. I seem to remember that the 'S' capsule, the figure of 8 capsule... is not one capsule at all, but is in fact two capsules, back to back. This would then explain the 7 pin cable between the matrix box and the mic, 3 sets of 2 wires, 1 set for each capsule in the mic, and an overall earth/shield. I could be wrong about this, but I am rapidly convincing myself that I am correct. If the above is correct then you would not, easily, be able to power the mic capsules directly from the mixer/recorder and decode within the same. Kindest, Simon B
  9. Production Mix Structure

    Brilliant advice Crew. I have been both the dumb shit, and the fuck up. I much prefer the former ;-) James - watch out for end boards - make especially sure that you are running when it is and end slate ;-) sb
  10. We are just about to post the last few videos from IBC 2017. we just uploaded a few more, including Lectro, Sony Digital Radio Mics, Ambient, and more...... Enjoy..... sb
  11. This year's videos from IBC in Amsterdam are uploading now. They can be found here...... https://vimeopro.com/ipstv/ips-tv-at-ibc-2017
  12. NEW: Audio Ltd - DDX1010

    The audio path of the TX needs to 'hear' timecode when it is in jam mode, so... you can make up a jam cable from your TC Op to the 3 pin mic plug connector for the A10 Tx, or you can play TC through your headphones and put the Tx mic near them. That said - I believe that the RTC now fitted holds TC for circa 2 days with no batteries in the Tx (super capacitor I guess). I am not sure of the accuracy of this though. sb
  13. NEW: Audio Ltd - DDX1010

    It is typical of regular Bluetooth range. I would say circa 10-20 feet when in a room, and a bit less outside. You just need to be 'near' an actor or whoever to make it work. sb
  14. How about SADiE, at www.sadie.com. The MTR (multi track recorder) version is one of their cheapest, and it is as solid as you could ever get? sb
  15. murky dialog -- Noah Timan

    But what is 'their' standard? Is it the Dolby standard? sb
  16. Recording applause in Germany - Advice

    3 pairs.... 1st pair, spaced, omni - low and quite near the front row - they get they crisp, cracky, start of each round (of applause). 2nd pair. cardioid, or similar, probably wider, looking at middle of room -these will be key. 3rd pair, maybe more gunny - higher, looking at back of room - lovely 'body'. If you have the money, and if they want surround... omni, set up probably hung above the rear of the hall, well spaced. They get the later, more surroundy stuff. Good audience makes the gig ;-)
  17. Cedar DNS 2 Portable NR unit

    I find that I cant mix whilst listening to the Cedar track, I would rather work with the dirty stuff, and flick across to the Cedar to amaze myself ;-) sb
  18. Running the Set

    I was having a similar convo with a producer some years back. as we were discussing I took the boom off my cart, extended it, and handed it to the producer. I was still talking so motioned to him to hold the pole up and I continued talking as I walked to stand under the mic. I don't think I got beyond about the third sentence when the producer interrupted me and simply said 'point taken, call your man now'. Generally they have absolutely no idea at all. I have also done lectures and talks at shows where I have set up a boom and given it to a production type in the audience to hold over me. Usually they can't even make 30 seconds before giving up much the amusement of the rest of the audience. At that point I have explained that 30secs is quite often less than the time it takes for the unit to get quiet, turn over, and get the clapper board on. They have not even made it as far as the word action!! Kindest, sb
  19. Cedar DNS 2 Portable NR unit

    I generally run 1 x mono mix track for editorial to work with, but keep a second available for those times when A and B camera are looking at different things. Iroute my 1(2) mix trax to the Cedar, and deliver as trax 1(and sometimes 2). I record clean mix trax to 3(and sometimes 4). I do not send the Cedar track to the headphones and all the people listening, I dont want them to think that anything I am recording is any 'better' than what they are hearing on the set/in the room. If editorial like the Cedar version then they can choose to use it. They all have Cedar or similar in post so they can do a better job than I can on set. Have fun, sb
  20. Field Recording Equipment Case

    If you want posh then try Case Design, who can make you a custom metal case with beautifully cut foam indside. If you want cheaper then shop around online for a Peli or Peli Storm, try the Waterprrof Case Company. If you want cheap then look at Trifibre.co.uk Good luck, sb
  21. Hi Patrick, and your points are interesting, but....most all Red cameras have been 'quirky' to the point of unuseable for most sound recording applications. Think 5+ minute takes, on quiet sets, with actors whispering, and camera close to the actors. This is the real test. The Helium (as tested in London by a colleague of mine in the last few days) is significantly louder, AND the menu modes ('quiet', vs 'adaptive preview quiet mode' or whatever it is called) are reversed, so the one that ought to be most quiet is not so. This is ridiculous. Red cameras have loud fans, period. I am aware of your fanplate for earlier Reds - i have to say that I heard that in some situations your fanplate was louder than the regular camera. I have absolutely no axe to grind with you personally, but that is what I read and understood. More important - why are we making custom built stuff to cover for inadequacies of Red cameras.... because they are unacceptably loud as sold. Red camera have loud fans. End of. It may well be that they have worked so hard to make the camera small and modular that they have made a loud camera. May I ask - who uses a Red camera as 'small' - they are always covered in extra bits. All the bits that were not included by making them so small. I am really sorry, but so far as I am concerned Red cameras, which might or might not make pretty pictures, should be used for car adverts and beauty shots. Someone had to say this. Simon B
  22. Dpa 4061 and double bass in beach

    How or why were you shocked? sb
  23. Rental Rates

    Although a canny line producer might manage to work out that the cost of a radio mic may be more than recouped over the entirety of a long production shoot, they will not be taking into account stuff like the risk, the maintenance, the love and care, the cables, the flight cases, the spares that you keep etc..... All of these add up, and in truth, they may well add 50-100% more to the apparent purchase price of the transmitter and receiver. Can you imagine saying to your line producer that although you 'require' only 6 radio mics, can you have two spare tx packs, and youd like lavs in black, white, and flesh colours, and you'd like 8 of each please, plus a spare OP loom, adaptor p[lates for when you go bag kit and pull the receivers from the rack, and spare aerials and aerial cables, blah blah..... If the production company 'own' the radio mics, then who will pay you to prep them, build them into your rig, clean them, care for them on the days off, guard them, etc.... Who will ensure that at the end of the shoot the tx packs are not put into storage with batteries left in them (cue next series, leaky batts in the packs). There is no incentive for you to 'love' the kit that is not yours. A more likely scenario, which I have seen happen (not to me - Iam not this lucky) is that a production might buy some specialist piece of kit (maybe comms kit) and at the end of the shoot the mixer 'buys' the kit from the show at a massively knocked down rate, like 25%. This has often been agreed before the kit is bought for the show. Also - would you want to be the guy that 'lumbers' the next mixer with not being able to charge for their own radio mics on the subsequent series. For all or any of the above reasons, and also that as you stated the kit is going to be paid for within the 6-7 months of the show, why would you NOT buy the kit, bank loan, credit card, borrow from your parents/children/boomswinger/whoever, and simply own the kit from the off. Enjoy your new kit ;-) Simon B
  24. RIP LOON

    Thankyou Jim for an enlightening post - I never knew that Don had so much fascinating history. Is there any chance at all that someone might take on the Loon Boompole designs and continue to make them? Thanks again, Simon B
  25. Audionomix? cleans up production dialog...

    There was a piece on BBC Radio 4 a few days ago about the latest state of speech synthesis. They had a computer that was doing a pretty passable job of synthesising Trump. Ift was not totally convincing, but if you added a bit of BG noise and made it as if through a phone it was pretty much indistinguishable from the real thing. One of the points that they made was that it is now close enough, that from now on no one should necessarily believe that anyone in particular has actually said anything, unless you are in the room and hear/see them say it ;-) Happy days..... Simon B Can you imagine the big studios being cool with the dialogue editor sending off lines from their not yet finished film for some online service to process? sb
×