• Content count

  • Joined

  • Last visited

Everything posted by RPSharman

  1. What are you plugging into what? I am looking for ways of cleverly increasing track count using my 788T to feed extra channels into my 664.
  2. Made in the UK!! Brilliant. That and... nothing else, sadly.
  3. My issue with electronic reports is perfectly illustrated here with the PDF of the X3 report. Or have a look at this one from "Justified" generated by movie slate. Justified #513 - SROLL 203 - .pdf - SO MANY PAGES!! I still use paper reports. Why? Because every show I am on, when asked, tells me they print electronic reports. They put them in a folder. They make a copy. Send that to editorial who put them in a folder, usually after making a copy so they have two. Sound editorial, whether they look at them or not, also make a copy. Here's my paper report for one roll Counterpart Report.pdf - I can count on one hand the number of times I have generate two pages with one sound roll, even if we go a whole day. My report is scanned and emailed by either production or the dailies facilities and emailed out to anyone on the list. When it gets printed, it's one piece of paper, not three or five or more. My paper report also lets me draw lines from one setup to another to let a dialog editor know where to find words or lines we may have recorded as off camera "wild tracks", or even on camera stuff that is better than what we got on the shot or take they may use. A paper report has so much flexibility and ease. They are not multi-part. Just one ordinary sheet of paper. Done. If someone would format reports so that they use smaller print and could fit as many takes as I can, then I would gladly switch. What do the 788T ones look like? 6-series? Any examples here? Just my opinion, which is routinely mocked :-)
  4. I have never had an issue with AC refusing to jam cameras, especially if the TC boxes came from camera house. On one show, they even brought them to me to get jammed and then took them back to their cart. Sometimes I just employ the "stupid" card and pretend none of my department know the camera menus. And the new REDs aren't that bad at holding time code. The last show I did with one was a few years ago, and even then it held TC just fine. I think we worry too much about this stuff.
  5. Not sure how many P&G strips will fit in a 19" RU space. That would be essential for me. I think there are far fewer mixers running cable than JW thinks. If that was important to someone, an external pre (lots of lovely 442s around) could supply the small number of mixers with mic pres, and keep the build cost well down for those who don't require them. I think a 12-14 channel board, 12v, with at least a few routable analog outputs and a Dante card would be well received. Coms are important, I think. EQ is not, beyond LF roll-off. Sadly there's just nothing in it for manufacturers. How many of us would drop $10,000 on a 12-14 channel Solice with Dante, for example. Other than me, that is.
  6. I'd imagine that the best ADR scenes are so good that you'd never know they're ADR. Unless there are post people here with a scene they're particularly proud of, I imagine the best will go undiscovered :-)
  7. SGS is the best currently. If I were re-buying, that's what I'd go with. Not sure about longevity yet, but I imagine it's good. Quality built product.
  8. When called for 2nd units, I want to emulate the 1st unit mixer in terms of what is "normal" for that particular show. The stuff needs to cut together. Just like a 2nd unit DP needs to match the style of the main unit DP. So I typically ask what they like to do in general. Wires all the time as back-up or primary? Only wire as needed? That kind of stuff. Not just for us, but for cast too. I find most guys who fill in for me or do my 2nd unit mixing ask me the same, but not always.
  9. Yes, Malcolm. 80 proof is 40%, and is the standard. 100% would be poison!! Normally 100 proof (50%) requires a few drops of water, but the Mulholland does not. It's wonderful.
  10. If it's an old panatape, it's actual clicking. If it's on the lav, they can aim the cones better.
  11. Oh. I've written a few, but I can't say that any have been comprehensive. I described concisely the people I know as being enthusiastic about sound, respected in their field, and active in the community.
  12. I was on a plane Friday, and decided to watch a couple of movies. I know that headphone listening is what it is, but I watched one movie that had such poor quality production sound that it was painful. It was a big budget movie. A terrible one. But really just should have been better. Then I watched "Fight Club" again. Beautiful. I'll add that the other movie was mixed by an accomplished and experienced sound mixer. It could have been shooting style or lack of available crew, or any number of things other than being his fault. My point is that things have changed.
  13. More grandchildren?
  14. I remember 2006. I put a CF in my 744T. It asked if I wanted to format it. I either said yes or no, and moments later I could hit record.
  15. I'll be there again this year!! As far as I know.
  16. If the boxes are mine, on prep day or day 1, I'll be sure they work. After that, I hand over the TC boxes and couldn't care less about what they do. If they're not mine, I check the box settings are correct and jam the box.
  17. Before I send it in... I have a little rattle in my 50. It's bee to Sennheiser recently, but not sure recently enough. Frustrating this happened. Should I take it apart and have a look?
  18. I undid the screws but couldn't get mic apart. Found video on MKH60, but wanted me to unsolder the XLR assembly, assuming I had been able to get it apart. So it's not set screws at least. Mic is in LA, which I failed to mention. It was in to Sennheiser about a year ago, but only a 6 month service warranty. Don't want to spend $300/£200 again so soon. It's an ambient rattle. Should be simple.
  19. Except when you're the only filmmaker on set, and then you just feel like shit.
  20. My advice is have the camera department jam the camera in the morning and after lunch. Worked for me with 3x minis for 5 months.
  21. I find the weird combo of analog ins and digital ins confusing. I'd think if you have 10 faders, there ought to be a way of getting 10 digital or 10 analog inputs into the machine. I still think if I was doing a "road" movie, I'd have this for insert/process cars. 6 analog is enough really. Can't wait to see one in real life.
  22. Cart in front of the horse.
  23. I'd like to propose a setup to the group. 95% of everything I do works on 8 or fewer channels, so I am using my 788T. The other 5% can be made to work (retuning the venue mid-stream, or simply getting the missing characters in coverage, etc.) - My new idea is to get a 688 to bring those extra channels in, but I don't want to give up my Solice. Not really interested in CL12 (yet). So I thought I could buy a 688, record a mix and 8 ISOs from the Solice, and on days with more than 8 channels required (more mics or playback), I can use the 788T with a CL9 to deliver more faders, or just the 788T on MixAssist into Ch 8 on Solice. In both cases feeding extra ISO tracks from the 788T outputs to the 688, so I can deliver on file with all tracks. I can also use 788T as "master", and trigger rolling both machines from my remote roll button on Solice (788T TC triggers 688 upon rolling). If I wanted to be even more clever, I could send mix and 8 ISOs to 688 from Solice, as well as 4 ISOs from 788T, then also send mix and boom ISOs from Solice to 788T as backup. Am I missing anything obvious? Any flaws I haven't thought of? Obviously, for ease, I'll need the 788T permanently riding on the cart, which isn't ideal. Or I can just have it in a bag with proper cables ready to plop on top of the cart for those few and far between days.
  24. Zaxcom has innovative products. That's where the love affair begins and ends with me. This whole thing just makes me 100% certain I will never buy Zaxcom products. I have been on the fence a few times, and considered some products to supplement my gear, but no more. This has truly left a sour taste in my mouth. Going after Tascam was one thing, but to be very whiny about a small company with a history of serving our tight-knit community, just shows that Glenn is missing the big picture. I am grateful for the ability to express my opinion here, and I have tried to do it delicately and with polite consideration and criticism. But this just sucks.