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Everything posted by RPSharman

  1. Aren't they one or the other? I'd think you would quickly get used to not having the wrong thing selected. Perhaps that's true. I don't remember that from any of the previous discussions. It is a real shame, however, if trim can't be on a control panel. It's not that I use it constantly, but with narrative work, we do go to the gain knob from time to time more than just the setting at the start of the scene.
  2. The lack of trim knobs is why I don't like the CL12. If they're going to make something new, it should have trim knobs.
  3. I had no idea that little Zoom controller existed!! What a cool setup for a car rig. For process trailer work, I can imagine this would be a great option to get linear faders with a very small footprint. If SD doesn't introduce a mini panel for 633, then I might go get an F8!
  4. Green laser sounds cool. Or a starter pistol.
  5. I have had three 50s for a long time, and many colleagues have used them for many years. I use mine in all kids of environments, indoors and out. I've never heard of one stopping working. I got a weird noise on one of mine recently (it was over 15 years old) and sent it in. They replaced some bits, and now works as new.
  6. It really depends on where you are in LA. I have been using 22 and 25 Lectros here, and there's ample room in the blocks. There are also plenty of resources here where you can get extra wireless in a matter of minutes in case you run into any trouble. I wouldn't worry about it.
  7. Oh! There's a video assist forum on Yahoo Groups. You'd be better off asking people who do that work. My experiece these days is that there's some sort of camera utility or data wrangler (who often likes to call himself a DIT). They set up monitors for DP. Video assist then taps off that. What you show up with as a package is between you and the UPM. They get what they pay for.
  8. I'm confused. On a union job there's a video person. In LA they're 695, so technically part of "our" department. This is not the case anywhere else in the world. I thought the OP was saying that on low budget films they want to assign the task of video assist to a person in the sound department. Not hiring additional staff, but expecting what is likely a 2-person department to handle the task. Considering the modern demands on both sound and video departments, these jobs should very much be separate.
  9. Prepare the can of worms for opening... Video Assist is a union position on union films. It's its own job. A non-union film has no business using video assist. But if they must, I'd steer as far away from that responsibility as possible, and leave it to the camera department. On "low tier" films, you'll have a tough enough time doing your own job. They can rent a Pix that'll auto roll and cut with SDI feed from a pro camera. You can run XLR to Pix, or charge for wireless hop. If you're already running sound to camera for some reason, they can play off the camera. SDI feed will send audio too (I think).
  10. There should be a bottom shelf so muck on the ground or wet grass doesn't get on the bottom drawer.
  11. Awesome.
  12. I did Mumblecore pioneers Duplass Brothers' third film. They made it clear in the interview that everyone gets wired if they're in a scene. Scripted or not. Booms will be kicked out of the room in favor of three cameras, if there's not enough room. They were clear that audiences simply don't notice or care about dialog if the story is "real". It didn't go down that way on the day, and we got pretty good sound, but I had to negotiate a few things to preserve the performance over a camera angle they wouldn't use. It was a constant struggle to convince them they'd want a piece of critical dialog, as they truly believed they had reinvented the wheel. Not sure any of their films have made money. But the kids in this video probably saw the films and thought they were awesome.
  13. There are soundboard apps for iPads as well as laptops. "Soundboard" by Ambrisia is what I downloaded recently. You can assign each off line to a row of keys. It's pretty easy. I edit the clips in Audacity (free) and drag them into soundboard.
  14. I have shipped my small (96wH) via commercial airline through a freight company - UK to US. I have 3 in the bag. I attach one to my 664 via cable and have 2 spares taped. Not sure the carry-on rule applies, but why not do it anyway. My ipowers are all in devices too, with one spare each. They are all in one pelican with a clear label. My cart battery is SLA. I have large LiPO in the UK. I don't ship it. I am about to ship back to the UK. Dynamic in the UK and PackAir in LA seem to have shipping movie gear down. They had no issues whatsoever. I think the sensible thing is to have battery resources at your location. My cart power supply of choice does not hold LiPO, for this very reason.
  15. If they're inviting you on a tech scout, they're expecting to pay a full day rate. No gear. I have had some low budget shows not want to take me on scouts to save money. If I am available, and want to use the opportunity to meet the players before day one, then I'll see it as time well spent. But I might self drive and come and go as I please. If there's other work to be had, and they aren't paying, then I don't go. I think there's great value in going on tech scouts. On TV in LA, we don't go, and we often get killed on locations where a simple fix for bad BG noise would have been available had we been on the scout. I have usually been able to negotiate scout days on low budget stuff for this exact reason. The say, "We're not going ot change the location, so why take you?" - My response is that because of that, it's important to gather information so we are prepared to make their locations work, even if they're not optimal.
  16. Not trying to be funny, but why not swap them at lunch? It will have a marginal effect on overall battery purchase replacement formula, and will insure the IFB doesn't die at an inopportune moment. You can keep running your 520s.
  17. Hello all, So I've read the manual and am confident I've set things up properly in terms of gain, etc. My director was complaining about my Comteks. They're clean and the other 15 people on them have no issue. Our Scripty would tell me if she had a problem, of that I can assure you. I've swapped headphones and receivers, and he's still unhappy. So I set up my G3 IEM system I bought a while back. People say they're great as IEM. But I listened and am not convinced they're any better at all than my Comteks. I'm using belt back transmitter. Is it just an issue of low RF output or dirty channel? Scanned on Lectro to find clean area, and tested it at 20ft. Just hissy and not great. Is there something I'm missing? Really reluctant to switch to IFB just for this one guy, but he's at the top of the TV game, and I'm sure is eyeing features. Don't want to be the guy he remembers with shitty IEMs. Robert
  18. Don't just "point at the mouth". Think of the voice pattern as a ball resting on someone's mouth, and the boom pattern is a cone. You want the ball in the cone. You don't want the person's head in the cone. The higher the mic, the wider the cone gets. You want the cone catching the ball, which is only in front of the actor. If you get too "pointy" with the mic, you get behind the actor and it makes it easier to miss cues when you have to "point" the other way. All the balls collect in front of people who are taking to each other. Cuing back and forth heavily will also cause shifts in background noise in poor locations. That is going to be more noticeable in your final product than being a little loose or a little off mic. Just listen with your ears and try to blend dialog and keep background noise consistent. New boom ops are best served keeping a mic a bit more vertical, a bit higher and more in front of the actors. It'll protect you from missing cues and shifting noise. If it's consistent, a lot will be forgiven. And no noisy pants, as previously advised.
  19. So... Ring goes to pin 2. Tip and sleeve go to 1, 3, and ground. I set tone out of 788T to -4 as a "highest point" reference. Set the transmitter sensitivity to the highest value before the clipping light illuminated (-9). So that way my highest program audio would not clip the transmitter. This results in comfortable listening to program level audio at the receiver end with volume dial at numerical value of 3. No pilot tone. Receiver on focus. What's left? It's still hissy. Not "tape hiss" as if gain structure is wrong. RF-type AM radio hiss. Hiss pumps with program audio too, which is weird. The program audio itself is nice, if the hiss could be ignored. The next thing is to visit someone with the same setup. Perhaps it's just how they sound, or this Tx or Rx really is broken. I did tell director, "I've switched you to the same receiver you had on your other show. Is this better?" - He listened and said it was "fantastic". So there you go :-(
  20. I ought to know tomorrow if I'm still going to Berlin on this show. I wasn't, then I was, and now I'm not sure. If I go, I'll probably overnight in Cologne, heading in or heading out, or both.
  21. I'll check wiring diagram, but I think if I were going mic in from a solid line out, I'd be overloading.
  22. Ok. Turned off pilot tones. Found clean channel. Set sensitivity to -9 (788T tone output at -4 so the AF peak just came on). It produced a good listening level at '3' on the receiver. Squelch at 5 Sounds better than 216, but not by much. There's still a fair amount of hiss that comes along with the program audio. I feel like it's set up correctly.
  23. Sit in the cab. Imagine you are moving up to talk to the driver. I'd pull down the front left seat to talk across to the driver. Above the middle not too close to the glass would be fine. Recently, cabs I've been in have "coms" between driver and passengers so the glass is solid and driver is safe. You could easily sell the 4098 as a mic to the driver. BLM overhead in the middle with DPA in their BLM mount could be anything. Keep it simple. They'll have piles of footage to choose from. They'll use the best sounding pieces where people are loud and enthusiastic.
  24. Exactly! Our job is to gently advise (or delicately advise in the case of experienced directors) that they may be painting themselves into a corner. Accept the answer and sit down with a smile. Often times, if you feel the edit really won't work, or you haven't managed to get the words clean and similarly somewhere else for a dialog editor to grab, then it's not unreasonable to ask for a "clean" take, even if it's just for the dialog editor to grab a syllable or two to unstitch an overlap that doesn't work with the cut. "Wild lines" on camera, if you will. How you present things to directors is something only experience will teach you. One of our directors doesn't care about lighting or sound. Barely cares about performance. Often won't wear headphones. He's efficient and fast, with a healthy ego. I found a way to play directly into it. He'll allow me anything if I can find a way to do it without costing him time.