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About Cujo

  • Rank
    Obligatory Scary Biker Dude
  • Birthday 04/24/1968

Profile Information

  • Location
    Atlanta, Ga.USA
  • Interests
    Riding my motorcycle, road racing, friends, family, camping, bow-hunting, target archery.
  • About
    I've been doing FOH sound for what seems like a lifetime.Grew up with live music and a band, and have just kept going.
    I've held a lifetime of jobs, from construction, to being self employed.
    I'm totally hooked on location sound and am following the dream...

Recent Profile Visitors

927 profile views
  1. Deva 24 seminar

    I just want to know how the Dante is going to work. What will be the total track count with Dante, how many will be Dante In/out, and how many will be something else, and what else they will be. Also, will there be trim adjustments with Dante or will Dante kill the trims as in the Cantar?
  2. DPA 4017 B preamp switches

    I've had no trouble with them moving under their own volition on my mics (I have 2) - But then again, I handle them with noted caution. Not that I'm suggesting that you are man-handling them, just that I am careful. They are expensive AF and took me a long time to afford.
  3. You have a message --
  4. It's not a direct answer to Tri-Level, but I just finished 3+ weeks of shooting with 4 cameras running 20-30(or more) minute takes. Tentacle attached to each camera and everything jammed once in the am, again at lunch. Post checked in with me at least twice per day and they advised sub frame accuracy across 2 recorders, 3 slates, and 4 cameras for the entire duration of the gig. Post is well pleased.
  5. Sound Devices 688 external slate mic *low gain?

    I love my 688, but yes the external Mic option is terrible IMHO. I am using the standard 7506 with Shure mic and have tested it with other mics to diagnose. The slate Mic has plenty of gain, but comms are so soft that I have to speak very loudly with the Mic right at my lips for the boom op to have a prayer of hearing me. I have tried with and without the CL-12 and with other mics to verify results. Best I can figure is something in the machine. I called and requested a workaround and was assured that my request would get passed along..... We shall see. Sent from my HTCONE using Tapatalk
  6. Interesting end to my day on set today

    Active shooter scenarios can be best dealt with by offering copious amounts of suppressing return fire, followed by highly prejudiced apprehension.
  7. I'm available, but need travel from Atlanta.
  8. NEED Help with Final Cut Pro

    Not in any particular order, but the following tidbits may help for some poor sap in my chair later on. And this is a bit of a follow up for you fine people who tried to help me wade through this. I was sent a particular problem file and -- on my lap top -- it did distort on the higher parts of the dialogue. Not a valid test really, and laptop speakers are notoriously bad, but it is a note. I didn't try to play it anywhere else. All the grownups including Director and EP were provided dailies from DIT each day for the run of the show. DIT used my mix track as the audio for dailies. Not one single complaint. In fact, good comments were happily received by me from them on a recurring basis. On each and every sound roll I did a verbal headslate and included no less than 30 seconds of tone at -20 as the first track. Also included in this was a description of what the tone was, the machine used, and specs used. Whether they used this reference tone is unknown. I have received no further comment or question from edit, and they didn't fire me, so either the system/workflow got sorted or they have binned the whole lot. I'm betting on the former. Thanks everyone for all you did to help -
  9. NEED Help with Final Cut Pro

    To date, I've been abundantly professional, tactful, and diplomatic in helping edit to find the source of the problem. Sadly, the "I've never had this problem before....grrrrr!" came today. So - What I've done now is explain - without aiming blame to any person, place, or process - that the issue lies somewhere in the file transfer/transcoding process. I just don't know what else I can do here. I'm trying desperately to help and be nice, but it seems to be failing. The response I got was that I should be taking the files from my Deva, using WaveAgent to check my files, then send them to DIT where they should again be checked with WaveAgent, then run through FCP7 to check compatibility before the DIT transcodes them with DaVinci....... Yes -- I asked for a workflow test 5 weeks ago. Yes --- my request was ignored. SMH ..........
  10. NEED Help with Final Cut Pro

    Jeff, Sadly- edit is in LA, and we are in Atl. so a set visit isn't possible. I've asked for a sample of what they have so I can compare to what I have and see if in can determine anything. I am asking around a good bit, but the problem is that very few here actually use FCP for high level work, or they haven't used it since film school. :/ Thanks for all the help so far... Keep it coming
  11. NEED Help with Final Cut Pro

    As it happens, they are having issues with time code sync due to some mismatch in their system or its inability to deal with the Davinci files. They mentioned to DIT this issue and have asked her if she would switch to FCP for file management. This with 4 days left in the shoot.... DIT has politely declined the opportunity to completely rebuild all the files, luts, and hardware to accomplish this request.
  12. Ok, so I'm not an editor and i don't want to be one. I'm 3 weeks in to a 3.5 week show and suddenly there's a flurry of emails from post telling me that all my tracks are distorted and overmodulated. We check the files here, playing back through my machine and also playing back DIT files and dailies. Result?? Zero defect and the highest level appears to peak at roughly -5db. In am recording on Zaxcom Deva V, 48k, 24bit, 23.976fps, polyphonic wav with -20db headtone. Files played back on my machine are perfect. Files sent to DIT are transcoded and exported through Davinci. Files played back from DIT are perfect. Post advises yesterday that they are using FCP to edit. A general issue of overmodulation seems to exist with the files. I have ZERO experience with using edit bay software, yet it seems to me that the failure must be in the file handling and import process, though I cannot say exactly why. Post seems unable to share with me the workflow they are using and has indicated that they believe the issue is not with FCP. I suspect that FCP cannot handle or is not being properly told how to handle poly-wav files and the audio is getting stacked and creating the problem. Anyone have any idea what direction I can point post?? Experts chime in.... And yes RTFM is an answer, as is telling them it's not my problem, but neither is really the one I'm looking for. Cheers !!! Cujo
  13. Todd is correct -- In fact, the local will give you explicit instructions on how to circumvent the residency requirements. Once you fill out the waiver it'll go to the E-board where it will be rubber stamped and you'll get voted in before the ink is even dry. It's good you are already here and working as a local..... while not being in the local....while locals are at home..... You'll fit right in.
  14. Transferring between unions

    The 479 Local is about the same as the 491. Our membership has quadrupled in the last 3 years. If you have an LA address, it's almost as if they will give you a 479 card in the welcome kit at the production office. On a side note, it would be nice if the last mixer/boom-op/utility to leave LA would mind saving house lights please-- but make sure and let us locals know where the switch is. We will need to move and find work once all of you get here.