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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

Profile Information

  • Location
    Thornbury - UK
  • About
    Production Sound Mixer - primarily features and TV.
  1. I think if I were given the responsibility of the picture master and sound master, I'd want a lot more money!!
  2. Yes! Would be great to be all wireless again. Although they're not always on teredek. They seem to have no problem renting focus pullers additional receivers. Maybe next time I'll have them added to the camera package.
  3. If the transmitter is set too high, it might get "crunchy" on the laughs or screams, but it won't "clip" in the digital sense. Not that I've experienced anyway. Your recorder might clip, if not set properly, but even that is unlikely with proper gain staging and limiters on professional gear. It really just depends on what's more important... increased range and quality for most everything with some crunchiness from time to time, or absolutely no crunchiness. If you want no crunchiness ever, then you have to set transmitters low and deal with some low-level hiss, which is pretty easy to get rid of later.
  4. Great design. I really think you want the drawers the other way, and small front wheels. Table should have a lip so stuff doesn't roll off.
  5. For standard sensitivity COS11 or DPA, I'd be at 30 or so as a starting point. A bit of limiting is ok on unscripted stuff.
  6. I agree. 633. I'd consider an 8060. Good indoors and out, and not very expensive. If you're only getting one mic. Get a couple of MKE2 or Cos11 for your Sonys. As you get more $$ you can get some vintage Lectro, that will serve you as good back-ups and additional channels as you start looking at new wireless. You can go 664, but I regret having bought one instead of 633, as most work I do that requires I be portable doesn't need such a big and heavy machine. Robert
  7. What's extraordinary is that I am on a show with 2 or 3 minis working all the time. Always broadcasting. Always using Prestons. First time I've had no interference from anything. Knock on wood it continues! Bad bnc cables have certainly been the culprit on previous occasions.
  8. I've been warned against shielded cable for power due to higher risk of shorting if cable is damaged.
  9. Hi, There's a pretty good deal on a couple of DPA lavs in England. I'm in LA at the moment. Trying to figure out whether it's better to pay 20% VAT and have my wife mail the mics to me as personal property, or have company send the mics here and pay US import duty and California use tax. Anyone with personal experience want to chime in with ideas? Robert
  10. Ron, 695 will probably take your money to join. The trick will be getting on the roster. Perhaps they still do 200 days as a service tech or something. Look into it. Good luck.
  11. While "expecting" that sort of knowledge/experience and conscientiousness, even from seasoned actors is "risky", asking is hardly inappropriate. It's our job. Why all the fear? Camera needs marks for focus. Level is our mark. I have had actors vary widely from take to take, and we will ask politely if they might know what they might do from now on for the scene. We are clear to tell them they can do whatever they like, but it would help us to record their performance better if we were to know. We are always met with gratitude and professionalism, even if it's a, "Sorry. I really don't know how it's going to go until I'm in it." (Rare). But even then they will usually decide and tip off my boom op just before we go into the take. The boom can make adjustment to wireless boom, and I can compensate on the board for the lav, if required. Here is where Zaxcom would be handy, but I would usually protect for the louder with the Lectro transmitter. While it's not ideal, those rare occasions can be sorted with a bit of gain on my end and some NR for the minimal hiss in post. As for my previous opinion about Lectro vs. Zaxcom, it is just an opinion. Very good and certainly beyond adequate sound can be recorded with most professional or even semi-professional systems. Professional mixers with experience will make the equipment work for them as required. For me it's a matter of ease and reliability and longevity and value. My opinion is that Lectro is the right choice for me. If I were looking for a set of awesome features, always received top rental, and was starting from the ground up, I would seriously consider Zaxcom.
  12. I like to turn my gear on and have it work. I have Lectro 411s on firmware 1.1 that behave as they should and sound great. They've got to be 15 years old, or close to it. I don't need fancy features 99% of the time, where Zaxcoms might be useful. I just need my gear to work 99% or more of the time without any fuss. If you need a Zaxcom feature that 1% of the time, there's always another way to get it done. If your system fails or is too fiddly, then you have nothing.
  13. Very sad and horrible. I am glad you and your family are safe. My thoughts go out to the family and friends of all those killed and injured, as well as to Berlin itself.
  14. Do the math. Let's say your invoice is $2000, and you charge a nominal 1% per month, you're looking at $20. They won't pay it anyway, so it hardly seems worth the trouble. If they're deadbeat clients, you'll be lucky to get the money to begin with. My contract reads 1% per week interest for invoices past due. It doesn't seem much when you look at 1%, but it is. Fortunately I have never had to enforce it, and I'd imagine I would have trouble doing so, but nobody has ever said, "Wow! 1% per week!?"
  15. I use my 50 outside all the time. Actually, I have one that lives in a Rycote WS2. My other 2 are on indoor mounts. The super softie works in very light wind or for quick moves. It's the first mic I reach for on any occasion, and if it somehow doesn't give me what I need, I go to the 8060 or 416. Used to have CMITs for outdoors, but found I used them rarely. To each their own.