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RPSharman

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Everything posted by RPSharman

  1. Rechargeable batteries can be recycled. Alkaline batteries are merely disposed of properly when turned in, or just dumped out back, creating a more hazardous situation than throwing them out one at a time as used. Rechargeable Lithium Polymer 9v have been proven reliable enough for our use. You can always swap them out more often, or before a big scene. AA/AAA rechargeables have better life than alkaline in all usage applications, but must be topped off before use. If they sit, even for a few days, they die. You can use Lithium AA in your SM when you don't want to go near the actor for a while. They can also be recycled when dead, but can only be used once, obviously, and are expensive. I generally charge production just a little less for battery expendables than they are accustomed to, so they are happy. But rechargeables save me a ton of money, and I feel good about using them. And that makes me happy.
  2. Jeff, What a great post. I recently worked with someone who is just starting out booming, as I am mixing. I have shared with him my philosophy on how to get good sound, and he understands it and at least pretends to agree with it. Some of that philosophy I adopted listening to Don when I had the honor of working with him pulling cable for just one day on a TV second unit not long ago. This boom guy has a work ethic rare to find in someone in his early 20's, even as a second generation sound man, and has a great attitude. I was lucky enough to meet him on a job he and I did for nothing. He was there every day, for no pay, on set with a collection of inexperienced morons, yet managed to keep a cool head and helped me get a track far better than they could have expected. It gives me great hope, reading your article, that perhaps as our work experience grows, so will our careers. And I won't post his name here, beacause I don't want any of you stealing him! Hope Rush Hour 3 is going well (almost over?). Robert
  3. Larry, On the Fostex machines, you need to set the TC at 29.97F and 48K with the +1% set to create 30F/48.048K. I think I had to do this on CSI:NY, or some other TV show shooting on film. I think WB does this too. I'm pretty sure there is no way of setting the PD6 of DV824 to record 29.97F/48.048K. My guess is that someone is miscommunicating what first unit is doing, and saying that you need to record at 27.97F AND 48.048K, but really means that they set their machine at 29.97F/48K with the 1% pull up for 48.048K (which also creates 30F). Just a guess. Robert
  4. Phil, Let me know what you do and how it turns out. I imagine this will happen more and more. The only time they have brought a film camera on any HD shoots I have done was to shoot off speed. And on a film shoot when they show up with a video camera for a "special" shot, I switch TC to 29.97 on slates and recorder, and make BIG notes on my report and scripty's. It takes a minute to switch and switch back, but we usually aren't the ones they're waiting for. Or if you're Lee Orloff on "Collateral", I expect you either have the time, or you're given it. Robert
  5. Well...if anyone finds themselves overwhelmed with all the extra work, there are some eager mixers out there (like myself) willing to take the overflow! :-} Robert Sharman
  6. I own a 744T which I have used for about a year, and my friend owns two. He has run internal HD, CF and DVD-RAM (just did it the other day - no problem). I use the internal drive and a 4G CF card. I have a firewire drive and 16X DVD-R burner on my cart, so throughout the day I dump files from the CF to the firewire drive, making sure everything is correct. At days end it takes about 5-10 minutes to burn 4G, which I do while wrapping stuff up.
  7. This'd be awesome! 10 analog line input to firewire from Sound Devices. 12v. I'd sell the DV824 and buy it in a heartbeat! But I expect their focus is on an 8-track recorder, which will also be GREAT, but I already own one of those!
  8. I use a DV824 (L-R & 6 pre-fade) and a 744T. What I like about this setup is that I am using new gear and file-based recording but still running off one small pelican battery w/ PSC Cart Power and one PSC powerstation for the DV824. I can run for hours, if not all day, without AC. I have a small UPS I switch on to burn a DVD at days end (my only AC requirement). My cart is compact, yet comprehensive, and I don't have lots of extra interfaces to worry about. I love it. And it all lays down in my Explorer without being broken down to cases. Great for day-playing. That said, if I was doing bigger projects with friendlier locations or a TV show, and I didn't already own the DV824, I'd probably be more AC dependent and a little less mobile, and buy the Mackie with the firewire option for $1000 and Boomcorder for $240 and be ready for all kinds of nonsense. Still using the 744T for a second machine and for cars, over the shoulder, etc. In fact, I'll probably end up buying the board and the program to have on the truck as a back-up system or just in case the next project requires it. If I can just find an extra $1240!!
  9. RPSharman

    Denecke TS-C

    I doubt the source would matter. Any slate either accepts the jam or doesn't. So once you pull out the cable and the timecode is running, then the slate's on its own. I have only used the TS-C slate a few times, and did not notice any issues. Does it drift, or does it reset to the default 58min timecode? The TS2 will reset when dropped or knocked over. I have not had issue with the two TS3 I own, other than the AC turning them off when they mean to adjust the brightness, and not saying anything. If the battery door is loose enough on your TS-C to open during handling, then perhaps the batteries are not seated tightly either, which will cause reset. I use energizer rechargeables in my slates, and since they are very slightly larger than procell alkalines, it makes for a tighter fit.
  10. If you are recording your audio file-based, and especially if your video is file-based (P2), and your mixer and AC and scripty have kept matching notes, then syncing production audio later in a NLE editor is easy even without a slate at all. That said, if you have a timecode slate, it would seem better to use it whenever you can. A visual reference to be sure your camera and sound reports match is sensible. If you have to rent one as a line item to make a little movie, and you have the time later, then use your money on something that'll end up on screen. Otherwise what's the harm in using a TC slate?
  11. I am excited to be part of this group. I have worked as utility sound for the last few years, and booming too, and agree there has been a steady decline in respect (and pay) for the sound department as a skilled crew. It seems that with compressed schedules comes the attitude that production sound needs to be just good enough. But i LOVED working with both the OLD and the NEW school guys. I learned so much just listening and watching and discussing. But what I learned the most is that no matter how little time or respect we feel we are given, that we must continue to always do our BEST. Now that I am mixing, I have taken the lessons I have learned from people I have worked with for years and people with whom I was fortunate to work just one day. Thank you to those of you who have shared their wisdom with me, and I hope to learn more as I work and as I read posts and talk to other mixers
  12. One of the usual responses to the request for quiet is that there is no way you can hear this on the track. In the kindest possible way, I remind the JACKASS that "although it might not make the track, it is both distracting to the mixer and the actors if people are talking or working during the take. I don't expect you would wave your arms around the lense and tell the operator and/or DP that it's okay because you weren't in the frame." Although it may not always work, they at least think about it for a second. It is sertainly most effective when the actor interrupts a take to ask for quiet.
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