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RPSharman

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Everything posted by RPSharman

  1. #metoo and sexism in general

    It is most often comments from other crew that spur these issues. It’s another reason I prefer to have my crew wire at the follow cart, which is usually somewhere appropriate for wiring, and whenever possible in the presence if another person. Always in the presence of a parent or studio teacher when a minor. At least for the first few times. After that, a costumer is fine if the parent and minor has previously indicated it’s ok. I once had a costumer walk away when I was wiring a 15-year-old girl. We had worked together a while, and the girl and I were fine, but it wasn’t the point. I was very upset, because a bystander, who might have witnessed the fairly compromising arrangement, could have seriously misinterpreted the situation. I had a stern chat with the costumer, who I had also been friends with for months. She completely recognized the issue and apologized. We had all let our guard down due to familiarity, but it’s important to remain professional overall for the sake of the collective.
  2. ISO's vs. Mix Track

    Lots of threads, as mentioned. I like to have a good mix so the director isn’t distracted on set by weird sound, and so the editor can cut a nice temp, and because I was there on the day and have a sense of how the performance in the space sounded in real life, and because my mix may go through to test screenigs, and because I want the director to love the sound he is used to by the time he gets to the mix. I just watched a show that sounded like shit. I feel like it must have been nice on the day. Good elements. But the ISOs were used and took all the character out of the dialog tracks. While I know that most shows at a certain level always remix frim the ISOs, if there’s a good mix in place beforehand, the editor and director will hopefully ask the RRM to make it sound like what I did.
  3. Busting the frame.

    In my case it was #1’s choice to not be radio miked. So since booms were in for him, we did it with everyone. Others were quiet, and were lav’d as required, etc. #1 was wired in his coats, which were ok for the bits we needed, but not always ideal. Booms in frame just become another valuable tool, but don’t replace good judgment in terms of background noise and capturing performances with the correct techniques. As noted above, moving backgrounds behind the boom can be tricky, trees and such, but not impossible. And these wides are typically quick shots editorially, so not a huge issue usually. Booms in green screen should never be an issue, as a garbage matte is drawn around the subject. It’s only if there are live elements in the background that the boom crosses would you get into hot water.
  4. Busting the frame.

    We busted the frame throughout "Counterpart" - Due out on Starz in January. We began doing it in a limited capacity from the get go, as we were doing split screens and motion control for one actor playing two parts, but then it became necessary to do more often. I brought it up with VFX supervisor, who told me that booms in frame would have "zero financial impact", even in moving masters (which we never really did anyway). I took this to post supervisor who said he'd "let me know". But when he didn't get back to me right away, I just did it anyway. Never heard a word beyond them being very happy with the sound. Operators and DPs were on board immediately. Directors were skeptical, but loved being able to do wide and tight without anyone complaining. I recently tried to get editorial to give me screen grabs with booms in for an article I was thinking about writing, but the assistant editors had taken the boom out with the Avid tools before even sending them for the temp, so without searching the VFX QC list, and "undoing" it to see what was there, they had no way of finding the footage for me. That means that basically nobody ever saw the booms beyond raw dailies. I will discuss this with every show from now on. The time saved in production and post will more than cover any cost associated with boom removal.
  5. Delivering files from multiple recorders

    I have 2x USB ports on my laptop. If I take a CF card from each recorder, plug them into a reader in each port, can I pick the destination folder to be on one of those two cards? Of will I need to create a destination folder on a third piece of media or on the laptop hard drive? Realistically, I would have the data transfer person on set load the program and just do this all for me, but only on long projects. On short jobs, I'd want to do it on my own.
  6. Delivering files from multiple recorders

    Hello, If I have two CF cards from two different 788T recorders, not all files will exist on both recorders. The common files will have same file name and start and end points (exact) as the machines will be linked. I will only roll two machines if there are more than 7 ISO characters and a mix, however. I don't have the setup currently to try out this demo. What exactly is the procedure to merge files from one CF to the other, or must you pick a third destination to send the files to?
  7. Delivering files from multiple recorders

    Very interesting indeed. Thanks.
  8. Delivering files from multiple recorders

    That is cool!! I now wish I still had my other 788T - although I could probably re-buy at less than I sold it for. Does it merge the metadata, like track names and such?
  9. Lectrosonics SMWB coming soon?

    Currently... this is just two separate products in one box. So great value.
  10. Deva 24 seminar

    I'm a fan of analog ins. Not a a fan of connectors on the wrong side, like recorders with headphone jacks on the right when all headphone cables run on the left.
  11. Deva 24 seminar

    Just a good-spirited joke :-) I am glad to see from Glenn that it's out in the wild. Although I have been a harsh critic at times of certain aspects of the Zaxcom experience, this machine looks absolutely brilliant.
  12. Deva 24 seminar

    Glenn created Irma because the Deva 24 was not ready. Too soon?
  13. DPA 4017B Vs CMIT 5U

    If you've got a CMIT and are happy with it, I would stick with it. I have owned both CMITs and 4017s, but have since passed on them. The sound in virtually identical in many ways, with subtle personal differences as to what it "better". In the end I bought a pair of 8060s, which match well with my 50s, 4071a and COS11s. As noted above, you are splitting hairs when discussing the quality and performance of any of these mics. It's just down to personal preference. And also, as noted, phasing will have nothing to do with the mic, and has more to do with placement. Unless, of course, the mic has reverse phase (i.e. COS11). In which case you just flip a switch.
  14. IT (2017) Sound

    Seems exceedingly unlikely that it would be a production sound error, and as unlikely a post choice/mistake. My guess would be the theater. I experienced muddy unintelligible dialog on one of my films recently at one theater. At another it was crisp and clear, as it had been when I attended the final mix.
  15. murky dialog -- Noah Timan

    I went to the premiere of "Annabelle: Creation" at The Chinese Theatre. Home of many big "Hollywood" premieres. I had been to the mix, so knew what it was meant to sound like. The sound in the theatre was muddy, some dialog unintelligible, and some of the story-telling sound effects were nearly inaudible. I went to a regular multiplex a few days later and I sounded great. Crisp and clear. It seems The Chinese Theater has some "issue" with sound that can't be resolved due to the building's landmark status. I find that hard to believe. Such a shame too. The director looked very confused throughout as he was clearly recognizing when things were getting missed.
  16. Ursa Strap

    You can buy them from the UK distributors - Wendy's Broadcast or Pinknoise to name a couple. They are not allowed to sell them to dealers in the US, but I don't believe the same restriction applies to individuals.
  17. DPA 4098 - first impressions

    Here's the thing. Sometimes a CUB sounds great (rarely, in my opinion). Sometimes a lav on the actor is the only way to go. I sometimes use my DPA 4011C in the center below, or an MKH50. Lavs are almost always in the visors. Every car sounds different. I bet these new Trew things are awesome a lot of the time. I didn't like the omni goose at all, but it was "fine". I expect the uniflex 4080 will be superior. But any type of shoot-out comparison really doesn't mean much. I am excited by this product, and if I have some heavy driving stuff coming up, I will likely buy 2.
  18. Delivering files from multiple recorders

    So, in short, if we want to deliver one CF card with 9+ tracks in one Wav Poly file per take, then we just need a machine with more tracks. In breathless anticipation of the new 716 or 816 (funny) from Sound Devices.
  19. Running the Set

    They keep me away from the important people so I don't say some stupid shit at the wrong time.
  20. Jamming TC From a 633 to a Denecke TS-3

    As I hope you have now discovered, jamming TC in the 633 menu refers to jamming the 633 from an external source. You want the 633 to generate its own TC by setting it to 24hr Run. This will use the system clock to generate time code. The clock should be set for 24hr Time Format. Then all you have to do is make sure you have a cable wired correctly to send time code from the lemo output of the 633 to the 1/4 TS input of the TS3 slate.
  21. DPA 4098 - first impressions

    That looks like an amazing solution. I am willing to give up a bit of low end in a car. Cars always sound a bit weird, and I doubt it'll be missed.
  22. Delivering files from multiple recorders

    Would certainly breathe life back into the 788T if it were easy to get all the tracks onto one file. Suddenly the two 788Ts are a 16-track recorder!
  23. Delivering files from multiple recorders

    Interesting - So if you are somehow able to change the track number on the 788T, then it can merge wav mono into a single poly with all tracks? It seems unlikely there is a way to change 1 to 9, 2 to 10, and so forth.
  24. Delivering files from multiple recorders

    But if it were 2x linked 788T with the same start/stop time, could it be done?
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