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Everything posted by RPSharman

  1. Hi all, Can you please send me a private message if you’re available to record a lav (to match production sound) on the upper west side tomorrow at 4:30pm. Just you with the actor in his apartment. Probably less than an hour to get some added lines. Tell me what you’d have to have for compensation. I know this is a simple job, but you’re representing me as the producer on an $80k film we shot a few months ago, so it means a lot to me. I’d prefer someone with narrative film/TV experience who works with actors daily. Boom ops and utilities are good too. Just want someone who knows the “vibe” of dealing with a layed back but very experienced actor. Thanks, Robert
  2. RPSharman

    Rechargeable Batteries for TX

    I haven't found that yet. I have learned to be careful with all rechargeables, as they all seem to come apart if you're not careful.
  3. RPSharman

    Rechargeable Batteries for TX

    I've started using the IKEA ones, which I think are rebranded eneloops, and are working well. I tend to switch brands regularly so I know which ones are newest.
  4. RPSharman

    IFB on the cheap.

    Haha! It is a trick, but they do come up once in a while. Mine were $350. I use 216 Comteks for clients, as they too show up used from time to time, usually about $300 each. And are cheaper than IFBs new for sure. Makes a big difference when buying a lot. I've been very lucky in the used market, with timing and price. My earlier point is just making sure that whatever we use is presented well and works. Using industry standards like Comtek and Lectrosonics (and Zaxcom too, I suppose) protects sound people from being perceived as "cheap". If we make the effort to keep up the illusion, rates might stop declining. I'm not saying we should all have ponytails and skinny jeans like DPs and operators, but we can be clean and groomed and dressed in a way that sets us apart for lower paid crew members. Just my opinion.
  5. RPSharman

    How can boom ops be more diplomatic?

    You're the big fish in the small pond. Tell them you cannot insure quality if you're required to use a boom operator that you don't know. You are working locally, and they get the benefit of that, so they ought to consider bringing in someone you know. You can always ask if the focus puller is local. I have gently taken someone aside who yells "boom" during a shot and told them that nobody yells "focus" in the middle of the shot. They either say that we need to reset, cut, or go again when the take is over. Just like a focus puller can't always predict an actor's and camera's movement, neither can we. They should afford us the same respect. In terms of boom ops on set... it's a hard thing to teach. Diplomacy is a learned skill, but some people just aren't good at it and never will be. Some people are just unlikeable. I would rather have someone that everyone likes and train them to boom the way I like, than try to train a good boom op to be liked on set. In terms of egos. As department head you have every right to take DP aside and say that neither you nor your crew work for him/her. In a fluid situation you are just trying to get the best sound possible, just like they are trying to get the best picture. If there's a communication problem on set, you can discuss how to solve it together with your team and his/her team. If your director is a dick, then you just have to do the best you can and trust that it is probably equal to or better than other movies they have done if that's the kind of environment they are creating.
  6. RPSharman

    Red Helium Fan

    Here's from a colleague. No mention of long takes, but you get the idea of what's required. It's more about target temperatures. If you want long takes in a warm environment, you need to have a black shade map with a higher target temperature set. Or just don't do long takes. Treat it like film. Roll and slate and call action quickly, and cut quickly at the end. Collaboration required with ADs and everyone else! "We have an extremely helpful DP and camera team. At Prep stage i contacted the DIT and DP regarding fan speeds. The DIT asked if he could leave the cameras on 'Adaptive' and i told him that would not be possible due to my past experiences and noise testing on various films and at <rental house> in their sound testing booth with <tech> from RED. He was open to changing that idea, and with the DP copied into all emails we formulated a plan. I told him that other colleagues had used a system whereby the 'Black Shading' was mapped for various different target temperatures, thus having the ability to set the target temperature to something achievable based on each location/situation, and change it instantly along with the custom black shading map if the cameras wanted to heat up/cool down to a level unanticipated. I then contacted ex 1st AC, and now <RED technician>, to chime in and he said this was perfectly feasible and acceptable and offered to come out to one of our camera test days. <The RED tech> and his assistant arrived and helped set up the black shading maps. We then tried the 'Adaptive Preview, Quiet Record' setting which i found a little unpredictable and variable in its noise levels. We agreed that on wide exteriors where the cameras (3 of them....) would be nowhere near the dialogue we would leave the cameras in 'Adaptive'. We also agreed that whenever i needed to on exteriors and all interiors we would run the cameras fans on Manual 30% Record speed with the Preview (i.e. idle) speed at whatever the DIT needed to keep the cameras cool without fluctuating the temperatures too greatly (which is undesirable in the same way as overheating the camera or setting an unachievable target temperature). He constantly monitors the core temperature versus the target temperature and adjusts the preview fan speed to create the best workable balance. Having <RED technician> visit us and let us know what is achievable really gave everyone confidence in our workflow and i am incredibly grateful to him for that. We also agreed that if i could hear the cameras i could ask for the fan speeds to be dropped to 25% (their lowest setting), which has happened twice in small rooms so far (day 4 of shoot). I am confident that at 25% the RED HELIUM is no louder than an Alexa on 'record low'. At 30% it is slightly louder but within acceptable levels for most situations (apart from two cameras in very small rooms, and/or quiet close ups with actors at minimum focus, close to the lens). We have all been collaborating professionally and after knowing a couple of times i would not hear the cameras due to them being on long lens and asking for the fans to be turned up to 40% i have the trust of the camera dept and DIT who know i'm compromising whenever i can. We are now at a wonderful stage unprecedented in my experience with Reds - i can set the fan speed to whatever we need it to be, by asking the DIT who can manipulate the cameras instantly using an APP on his phone. I would say that the Helium is the best RED so far in terms of fan noise and if set up correctly with black shading maps for different temperatures and a camera department who are happy to collaborate the cameras will not impact the dialogue acquisition. Generally our starting point interior setting is Manual, 30% Record and 75% Preview. (BTW, 75% on a Helium is nowhere near as loud as 75% was on a Red Weapon, which sounded like a hairdryer).
  7. RPSharman

    L.A. Soundies: Mileage "zone" question

    In general (and I have worked in LA and London recently) you are expected to make your own way at your own expense for anything that's considered in the area you are supposed to be living. So if the job is in SLC and the location is "out of town", then it would be typical to add time and mileage to your daily rate. But without specific rules, it's something you need to agree on ahead of time. Nobody lives in London, but if you work in London then you're expected to get there. If you live in LA, you're expected to get to location within the 30 mile zone from LaCienega and Beverly, even if that means you're on one end of the zone and need to get to the other. It's an imperfect system, and may people elect to turn down jobs with bad commutes.
  8. RPSharman

    Phase alignment drifting

    Yep. People move. So do mics. When I mix, for example, for a few takes I may use a bit of lav and boom in the mix and all is well. Suddenly there will be a small change. The actor might duck their chin or miss a mark, or the boom op will be a few inches higher or lower for one reason or another, and suddenly that mix of lav and boom at the levels that worked before don't work any more. It's unlikely you'll be able to solve your issue clip by clip. You might just need to align and mix line by line to the edited footage, if your intent is to mix the boom and the lav together.
  9. RPSharman

    How to fix a audio track after the shoot?

    I would be surprised if there's not another recording of the audio somewhere. Call around for sure. Unfortunately I'd guess the only recording of the headset mic is the one you have. The podium mics will have her going on and off mic a lot, which might be better sounding in terms of quality, but very distracting and also not very professional. If I were the client, I wouldn't pay either. And although the camera person should have been listening, it likely wasn't their decision to not have someone responsible for the sound. If that's not the case (this isn't my area of expertise), I wouldn't hire that person again either. It's a serious mistake. Fixing this will only make it sound differently bad, unfortunately. As others have said
  10. RPSharman

    IFB on the cheap.

    Here's the thing. The OP might have a corner on the market in Idaho, and expectations might be low, but that doesn't mean professionalism shouldn't be the goal. My biggest pet peeve is listening to mixers gripe about how rates have gone down and they can't find good rental and people no longer treat the sound mixer with respect, yet people show up looking scruffy with a bunch of shit hanging out of their bag, borrow a folding chair, whatever. If, as a community, we want to increase wages and return to being seen as professionals, it's time we started to do that. Look the part! Buy a nice used UM400a for $500 and a couple of used IFBs for $350 each. It'll work great in the bag or on your cart. If you do buy an old Comtek system, buy new zipper pouches for them (including the transmitter). A nice shiny new black pouch with crisp COMTEK on the outside will make a good impression, regardless if there's a 20 year old receiver in there. Regarding any non-industry standard brands... they may work fine, but when they don't, the client will look at them and wonder what crap they're paying you rental for. If something is going wrong, and the gear is something they recognise, like Lectrosonics or Comtek, they'll consider it an anomaly and at least won't question your professionalism regarding gear. Just my opinion.
  11. RPSharman

    Stereo Mix - scripted series

    I'd push back... gently. Not common at all in Los Angeles. And any workflow that editor and post sound and dailies house aren't used to will cause problems at first. Post supervisor is not always knowledgeable and sometimes just a promoted post coordinator. Although in your case they may be. Look them up. They simply might be confused, or might have come from docs or reality where this work flow is more common. I would ask that they confirm with the editor and the planned post sound house that this is also what they prefer to work with. The post supervisor doesn't actually do any of the technical or creative post work. In the end, if it's what they want, then you just have to do it, as the others have described. This method always requires a remix, but I suppose if they're summing the L/R to achieve your mono mix anyway, then I suppose it's whatever they're used to. The problem I would have with it in Los Angeles anyway, is that they'd default to making dailies with track 1 on left and right side, and it would sound bad to the rare few who actually listen to dailies. If you could be assured that the sum would play as a mono mix on both sides for dailies, then no big deal. It would be even more weird if tracks 1 & 2 were played L & R. For me, however, working with a 788T, I'd not want to give up an ISO for this unnecessary and old-fashioned work flow.
  12. RPSharman

    Searching for a splitter

    Seems like a lot of trouble. Why not just record an emergency mix if you want to run a back-up? I know this has been discussed a lot, but with carts needing to get smaller and smaller with more and more practical locations and less and less preparation, seems logical to just ditch the back-up. I haven't run one in 6 or 7 years, without regret.
  13. RPSharman

    Question about passive splitter for bag use

    That is correct. You can use two different kinds of antennas, but you need two different antennas for sure. Two antennas, two splitters, into two receiver antenna inputs.
  14. RPSharman

    Question about passive splitter for bag use

    Unless it isn't clear. Two antennas. Two splitters. Two antenna inputs on each receiver.
  15. RPSharman

    Question about passive splitter for bag use

    With great success, I use the 3-way passive splitter with 3 x 411a receivers on a process trailer - using 25ft of high loss 50 ohm BNC cable. The factor which gives me success is putting the antennas on the back of the truck, only 15ft or so from the car with the actors in it. But I have also used this rig with free driving, or on a mini cart. In all cases, the fact that the antennas were clear of as many obstacles as possible was enough to compensate for the loss in the system. There's a lot of science to all of this, and the biggest misconception is increasing transmitter power will improve range. I can't tell you the number of mixers who struggle with reception, and are convinced they're doing everything they can by using powered antennas and running their transmitters at 250mW. There are other mixers who have no issues at all running SSMs at 50mW. My experience has been to only add cable if it will significantly improve line of sight, enough to compensate for line loss. I have never used powered antennas, and almost always run at 100mW. The few times I've gone to 250mW seems to have made virtually no difference.
  16. RPSharman

    Lectrosonics UCR211 problem!

    14 years is an eternity for most electronics. That said, I still have 200 series, and they still work. That's what makes Lectro so great! I have 411s of similar vintage, and first run SMs that are getting long in the tooth. Given the abuse these things take, it's nothing short of a miracle they work as long as they do. My "very old" comment was simply to say that at some point, everything fails. Based on the latest description, I'd say perhaps there's dirt build up on/around the white plastic part of the switch cover that is perhaps misaligning the connection. With the cover off, a little deoxit gold applied with a q-tip to clean the sleeve and button might help, as it also contains a lubricant.
  17. RPSharman

    Lectrosonics UCR211 problem!

    If it's going in anyway, there's no harm in opening the top and trying to clean it out, in case there is dirt in the switches. If you send it in, have them replace the on/off switch too while they are in there. And the other buttons too. Same service charge.
  18. RPSharman

    Lectrosonics UCR211 problem!

    The 211 is a very old receiver. The button has likely failed. Sorry, but there really isn't any other explanation.
  19. RPSharman

    Cantar X3 Mini

    I saw the Aaton Wisy demo at Trew Audio the other day. It was seriously impressive. THey're not quite there yet in terms of how to display multiple receivers and menus to allow seeing 2 or 10 receivers, and how to select the one you want to adjust, etc. But they're very close! Wisy has some seriously amazing tech, but if anything rather big and heavy transmitters. The receivers will be across all blocks, and ought to be able to tune in other manufacturers, and their new antennas can not only supply varying amounts of gain, but can also apply an RF filter to block out everything on either side of where you're transmitting.
  20. RPSharman

    Reblocking question / Looking for suggestions

    Someone has just requested to buy B25 SRB on JWSound - I'd sell it to them and buy another SRC
  21. I am so disappointed. I can only hope they have something amazing, and it wasn't quite ready to show.
  22. RPSharman

    So... Nothing new from SD at NAB, I guess.

    This is why I don’t really expect to see something new and high-end from SD. It was just some wishful thinking. There’s probably very little profit in a machine like that unless you charge $12k+, and that’s never been SD’s style. They’ve locked in the upper/middle market with 6-series, they’ve brought in the less expensive market with the great MixPres, and they’ll surely bring Audio Limited some new business. Makes sense to let Zaxcom and Aaton chase the “elite”.
  23. RPSharman

    So... Nothing new from SD at NAB, I guess.

    Still lacks outputs for feature and TV cart mixers. Lots of great products out there for everyone else. If you want a panel, they already have that with the very successful CL12, which works with 664,633,688 and is superior. What I am hoping for is a higher end recorder with a higher end mix panel to compete with Cantar and Zaxcom.