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RPSharman

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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

Profile Information

  • Location
    LA or UK!!
  • Interested in Sound for Picture
    Not Applicable
  • About
    Production Sound Mixer - primarily features and TV.
  1. ISO's vs. Mix Track

    Speaking about properly budgeted narrative projects here.... It baffles me that any picture editor would want to work with split tracks. They'll be choosing either between the lav mix or the boom track, or doing some poor mix of the two. I can't imagine a director sitting there and listening to some muddled editor-mix during their temp process. What a mess. Why wouldn't they just prefer a proper mono mix from a professional sound mixer, who will most of the time deliver a solid mono mix? It seems very unlikely there are ANY editors in this day and age that are not getting all the ISO tracks into their NLE. If they need to pull something, it's very easy to do. Why fix everything all day with split tracks, as opposed to just fixing what needs fixing? I am under no illusion that my mix track is what they use once it gets to the mix stage. Why on earth would they use it? All it would do would be to reduce they hours they can bill for breaking down and remixing a scene. They have all the information I didn't have. They have the knowledge of which takes/performance was chosen. They know which cameras were used and how the scene was edited. Cutting into close-ups right away, or hanging in the wide, or going back and forth. Added lines. Different ambiance. We don't have any of that information on set. We can only make an educated guess based on years of experience, and make it sound how we hope it should sound. I do that because I want the director to get used to my mix from a creative standpoint, because I was there in the space on the day. But the RRM can recreate that, if the director requests it, and probably do a better job given that they can have many goes at it. We only have one go. While often we can get it dead on, it doesn't mean the RRM won't remix it. It might just sound exactly as we had it when they do. What saddens me is when a good mix is ignored for some poor re-mix of a bunch of radio mics, because they were in too much of a hurry to listen to the mix and see that the PSM was able to fill the boom gaps with selective lav use. They could have done the same as me on the remix, as opposed to abandoning the boom track because there were a few gaps, and the dialog editor flagged it as a "lav scene". (See some old thread somewhere where a RRM said they never listen to the mix, and instruct their assistants and/or dialog editors to either deliver the boom if it's good all the way through, or deliver only the mixed wires with no boom. Tragic.)
  2. 4018c or a second 641

    I use the 4011C when I need a little mic. It’s great. I bought it for low ceilings at close proximity to actor, with beams making it necessary to have the middle pattern. Makes a great plant too.
  3. Wireless "bursts" of volume?

    Ugh! Thanks, Crew. Similar symptom.
  4. Wireless "bursts" of volume?

    Happens outside of 600, and started prior to the T-Mobile roll out. I am going to start taking better notes when it occurs, now that it is happening more often than I am comfortable with.
  5. Wireless "bursts" of volume?

    Asking the collective... I have 2 Venues over blocks from 21 to 25, powered independently. I am getting occasional bursts on my wireless, that are happening too often not to be worried about it. It's happened on SM (both on actors and wireless boom), HMs, UM400a, so not P48 issue. Happened with various boom ops with different poles. Sounds like someone cueing a walkie next to a transmitter. Not a "hit", but a burst of increased volume. Spoke to Ron at PSC, as my cart is powered exclusively through PowermaxUltra, and he can't think of any possible scenario for this. The board is also PSC. A Solice. Not consistently on one input channel. Anyone else experience such a thing? It was most pervasive on a show shooting near a beer distribution depot, so possible high power 2-way radio steppage, but we shot a lot at night when depot was dark. Robert
  6. Sometimes things slip through

    I watched a screening of a movie I had mixed. Big close-up of Andy Garcia with at least an inch of microphone sticking out of his tie. It was a crazy set, but with so many people looking, you’d think someone would have seen it. Including me.
  7. #metoo and sexism in general

    It is most often comments from other crew that spur these issues. It’s another reason I prefer to have my crew wire at the follow cart, which is usually somewhere appropriate for wiring, and whenever possible in the presence if another person. Always in the presence of a parent or studio teacher when a minor. At least for the first few times. After that, a costumer is fine if the parent and minor has previously indicated it’s ok. I once had a costumer walk away when I was wiring a 15-year-old girl. We had worked together a while, and the girl and I were fine, but it wasn’t the point. I was very upset, because a bystander, who might have witnessed the fairly compromising arrangement, could have seriously misinterpreted the situation. I had a stern chat with the costumer, who I had also been friends with for months. She completely recognized the issue and apologized. We had all let our guard down due to familiarity, but it’s important to remain professional overall for the sake of the collective.
  8. ISO's vs. Mix Track

    Lots of threads, as mentioned. I like to have a good mix so the director isn’t distracted on set by weird sound, and so the editor can cut a nice temp, and because I was there on the day and have a sense of how the performance in the space sounded in real life, and because my mix may go through to test screenigs, and because I want the director to love the sound he is used to by the time he gets to the mix. I just watched a show that sounded like shit. I feel like it must have been nice on the day. Good elements. But the ISOs were used and took all the character out of the dialog tracks. While I know that most shows at a certain level always remix frim the ISOs, if there’s a good mix in place beforehand, the editor and director will hopefully ask the RRM to make it sound like what I did.
  9. Busting the frame.

    In my case it was #1’s choice to not be radio miked. So since booms were in for him, we did it with everyone. Others were quiet, and were lav’d as required, etc. #1 was wired in his coats, which were ok for the bits we needed, but not always ideal. Booms in frame just become another valuable tool, but don’t replace good judgment in terms of background noise and capturing performances with the correct techniques. As noted above, moving backgrounds behind the boom can be tricky, trees and such, but not impossible. And these wides are typically quick shots editorially, so not a huge issue usually. Booms in green screen should never be an issue, as a garbage matte is drawn around the subject. It’s only if there are live elements in the background that the boom crosses would you get into hot water.
  10. Busting the frame.

    We busted the frame throughout "Counterpart" - Due out on Starz in January. We began doing it in a limited capacity from the get go, as we were doing split screens and motion control for one actor playing two parts, but then it became necessary to do more often. I brought it up with VFX supervisor, who told me that booms in frame would have "zero financial impact", even in moving masters (which we never really did anyway). I took this to post supervisor who said he'd "let me know". But when he didn't get back to me right away, I just did it anyway. Never heard a word beyond them being very happy with the sound. Operators and DPs were on board immediately. Directors were skeptical, but loved being able to do wide and tight without anyone complaining. I recently tried to get editorial to give me screen grabs with booms in for an article I was thinking about writing, but the assistant editors had taken the boom out with the Avid tools before even sending them for the temp, so without searching the VFX QC list, and "undoing" it to see what was there, they had no way of finding the footage for me. That means that basically nobody ever saw the booms beyond raw dailies. I will discuss this with every show from now on. The time saved in production and post will more than cover any cost associated with boom removal.
  11. Delivering files from multiple recorders

    I have 2x USB ports on my laptop. If I take a CF card from each recorder, plug them into a reader in each port, can I pick the destination folder to be on one of those two cards? Of will I need to create a destination folder on a third piece of media or on the laptop hard drive? Realistically, I would have the data transfer person on set load the program and just do this all for me, but only on long projects. On short jobs, I'd want to do it on my own.
  12. Delivering files from multiple recorders

    Hello, If I have two CF cards from two different 788T recorders, not all files will exist on both recorders. The common files will have same file name and start and end points (exact) as the machines will be linked. I will only roll two machines if there are more than 7 ISO characters and a mix, however. I don't have the setup currently to try out this demo. What exactly is the procedure to merge files from one CF to the other, or must you pick a third destination to send the files to?
  13. Delivering files from multiple recorders

    Very interesting indeed. Thanks.
  14. Delivering files from multiple recorders

    That is cool!! I now wish I still had my other 788T - although I could probably re-buy at less than I sold it for. Does it merge the metadata, like track names and such?
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