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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

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  • Location
    Thornbury - UK
  • About
    Production Sound Mixer - primarily features and TV.
  1. Mix assisting shitty mic signals is going to be shit. "Bag" mixers have a valuable skill in the ability to provide solid and clean mic signals and monitoring under very challenging conditions. It's very easy to tell when a broadcast is using self shooters or inexperienced sound people. There has been many a debate here about mixing verse recording, but it's the elements that matter in the end. I won't pretend to be able to mix properly with rotary faders with ad libs or large cast narrative. If there's a tool that can deliver a better mix, then that's great. As mentioned before, more of an issue for post with less work to do for reality or bag-based work, where finesse in the mix is perhaps less of a requirement or where time is a consideration. Like the Cedar NR tool, mix assist is a tool to provide a better mix of the elements for immediate broadcast of for broadcast with limited time or resources to sweeten and remix the element. But the elements need to be good, and that's the same all around.
  2. Percentage-wise, you're far better off getting an experienced boom operator who has never mixed than an inexperienced mixer who has never boomed. You can have the best mixer in the world, using the best gear, but if the mic is in the wrong place, your sound isn't going to be good.
  3. Love SD!! "Oh, by the way, here's a new feature we didn't promise or even tell you about. It's free too. You're welcome."
  4. I've often had gain up for ISO, but kept fader low for the exact purpose of having director struggle to hear whisperers. Keep other actors at normal levels. Works pretty well in some circumstances. Not a technique I'd always employ.
  5. I love that the response from the BBC is always the same. "We'll look at the levels before our next broadcast". It's not the levels, it's the intelligibility. That can't be fixed by turning up the levels. They ought to talk to producers and directors and instruct them to monitor actor delivery. We can only record what they are delivering, and reproduce the mumbles perfectly.
  6. Sorry, but this filmmaker is not a hobbyist. He has distributed and sold his films. He is, therefore, a professional filmmaker and employer. The chosen method is to be as cheap as possible and hope for the best. That is certainly a valid choice. The reassurance you're looking for will not be found here. If you want good sound and picture, then hire a professional crew. Anything less than that, and you're taking your chances. It may work out, and it may not. That's independent filmmaking.
  7. It is cheeky that they don't include the necessary pouch protectors. Fine to sell them as a separate item if you need replacements, but the first one ought to be included.
  8. I have 2 of them. But I'm not really sure where they are.
  9. From a low budget perspective, it's best to keep an ear open for shifts in the background. That's one of the hardest things to fix. By the way, if you've hired a boom operator and no mixer, you've actually hired a mixer and no boom operator. The job of the mixer is not just to mix mics, but has the knowledge and experience to know what to listen for, what will cut together, what perspective changes you're facing, what background noise issues there are, etc. Continuity of sound. It's very difficult to concentrate on these things and boom at the same time. One or the other will suffer. Seems crazy to me that you'd want to be watching sound levels in your view finder as opposed to watching the performances and composition and lighting and other things that deserve your attention. I wish you the very best of luck, and I would suggest buying a used 442 as opposed to an MKH50. It'll be more useful for your purposes. Or buy both and sell them back after. If you get a used 50, it'll hold its value right through the shoot.
  10. I agree with notifying director, either by standing up so he/she can look over if they want, and you can shake your head, or by a separate PL that can notify the director over headphones without getting into the mix. But I have only had one director in many dozens who asked me to actually say "cut" out loud if there was a problem. I thought she was crazy. I still do. If there's an issue in the middle of the take, and the actors aren't distracted, the end of the take may be great. The cast may be in the moment and delivering a great performance. It's why most good directors don't cut. You rarely need a complete take. There are clearly many methods, but I'd say confidently that if a sound mixer said "cut" on most sets I've worked on, they'd surely not be invited back on the next one.
  11. Yes. Never stop a take. If it's that bad, they can hear it too.
  12. Hi Mark, I've been using 22 downtown with good results. But in some areas it's awful. My main boom and IFB are on 25, with good results. I'm using 21 as well. I've always been lucky in that I have a low track count. But I don't have much trouble still using 21/22. Robert
  13. I love the remote audio with Lectro plug-on. It's durable. The plug-on has dual purpose so can be used for other things when VOG is not required. I have 2 of them and two plug-ons. Using them all the time on this show. One for VOG. One for earwigs. If it ain't broke...
  14. My wife stayed home. Similar story. 3 kids and my wife's earning potential wasn't enough to make childcare sensible. My advice is to simplify your life financially as much as possible so you can enjoy your time off. I regret being so stressed out when I wasn't working. I hated weekends because I couldn't look for work. I was miserable. The greatest thing I ever did was not to increase my expenses after moving up to mixing and starting to make a decent living. I learned to enjoy my time off. I wish I could go back in time and enjoy those weeks and months off with my kids, knowing that in the end everything will be ok.
  15. I remember when the stopped making the PD6. Everyone was so sad. Oh, right, that never happened.