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JamieSound

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About JamieSound

  • Birthday 01/01/1

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    http://www.SoundWaveSurfer.com

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    Los Angeles / Ann Arbor, Michigan

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  1. First and formost, I'd like to see the new gen Deva have WAY more processing power & memory than initially needed, so it'll accommodate any & all future firmware function upgrades, WITHOUT having to pick & choose which ones to use. The current gen Deva's processors can't handle many functions being turned on at once, as it bogs down the machine and/or the machine acts funny. I hope they replace the FW-400 with the latest USB and/or Thunderbolt. - Jamie Scarpuzza
  2. I have Comtek agile 216 systems with neck-loops & earwigs. If there's NO room for a RX or neck-loop on the talent, I'll rent Invisity RF earwigs. Even with that, I can imagine some situations where the old school "room" inductive loop might come in handy, especially since the Invisity RF's are larger in size than normal earwigs. Since I have an extra amp laying around, so it thought it might be nice to experiment with the old school system, but not at the expense of blowing up my amp. Thanks.
  3. Can someone please describe everything needed to know about inductive room-loops? What type, gauge and length of cable should be used (say for a 30'-50' diameter loop)? What is the exact wiring hook up for the loop itself, and at the amp's speaker outs? Is there a preferred ohm setting on amp's speaker outs, if one exists? Phillip mentioned a 100w amp (I'm assuming that's RMS). Is 100w a good size for setups (say for a 30'-50' loop)? Should the loop be placed up high (C-stands etc.), as close to the level of the earpieces as possible? Should the loop itself be as round as possible, or does it work just as well if set up in a square shape? What's the typical max range between the actual loop and the earpieces? Are actors & performers still able to have children if I one uses an amp with too many watts? Any other things one should know? Thanks for any and all help. Jamie Scarpuzza
  4. Even though the occasional DP or Director doesn't want the boom in frame on green screen shots, I always try and fight to get it in there. The ADR factor also depends on what B/G their putting in. If it's an dry exterior, a verby track is probably gonna get looped. If it's a more verby B/G, they just may keep the production track. Another factor is how loud the talent get. If they can cheat their volume down on loud passages while still having it still work for the Director, that'll cut down on verb. Using a boom + lav is very good way to go. Jamie scarpuzza
  5. JamieSound

    Deva 16

    Although Zax supposedly had a prototype D16 at the show, I have not seen any pictures yet. In leiu of pictures, could someone who attended the show please paint a short verbal description of the D16? Cheers, Jamie Scarpuzza, CAS
  6. I have a Mac Pbook with BWAVLISTER on it. Besides doing hand written logs, I often put a text file log (from metadata) on the polyfile disk. In the next generation of recorders, It might be interesting to put metadata log software built right into the firmware. With a printer hooked up to the recorder, one could just press a button and print a log, or write the file into a folder. Lest we forget - these recorders ARE computers. Jamie Scarpuzza
  7. Jeff, those are some very good points. I suppose I'm being a bit naive, holding onto to something that's not much appreciated anymore. Multicam and noisy city setups not withstanding, I tend to exercise my PSM prerogative, mixing boom-Lav ratios to cam perspective (whenever circumstances allow). I do so conservatively however, with just a little lean toward the lav. Considering this style of mixing takes more effort, post people and audiences don't much appreciate it - perhaps I should be having some sort of epiphany here. It's just that while watching V/A and dalies, everything sounds so natural and real. Perhaps I need to keep reminding myself that in movies - nothing is real. Jamie Scapuzza, CAS
  8. I often hear lav clothes rustle in features, big budget TV shows etc.., but it's usually not to the point of being distracting for the viewer. In these days of multicam setups and complex compound camera moves, getting wired is the norm. As with background noise, A PSM must discern in realtime if the amount of clothing noise he/she is hearing is acceptable or not. What's interesting is how with all this lav use, camera-perspective audio is slowely going by the wayside. As the proximity changes between the actor and the camera, the audio perpective just remains the same. On some multicam setups (wide and tight), there's not too much a mixer can do, so it's up to post to remix the ISO tracks to recapture proper camera perspective. Unfortunately, this very often doesn't get done. In my opinion, constant "up close" audio perspective detracts a bit from the voyeuristic acpect of movie watching. I'm not just talking about direct to ambience ratios, but actor's volumes as well. Oh well... After the elements get handed off, my job is done. It's out of my hands.
  9. I had a plaque made that's on my cart. It says "Key Light Here". I like Art Rochester's new cart name "Eleanor Rig-B".
  10. For double sysem sound video, you basicly have 3 options: 1) Hardwire everything (audio send, return & TC) to camera. Although one occasionally gets to do this in a soundstage scenario, it doesn't sound like this will work for your situation. 2) Mount a TC generator (jammed from audio) and radio RX on the camera (which they're asking you not to do). If they commit to only using the video audio for reference, I only put a Comtek RX on the cam. If you set the RX volume at about 2-3, it works just fine. If they're using multiple cameras, you'll probably want to use a TC gen w/tri-level sync. 3) Treat it just like a film shoot. Run 29.97/48k audio and spank a TC slate.
  11. In my lav collection, I have both DPA 4071's and B6's (grey band) - going into Audio 2020's. Although the B6's can't take as much SPL, don't have as much low end and are a little noisier, the earn their keep by being so incredibly small. If needed, you can hide them in plain sight (button hole etc..). For people with big voices or who get loud, I much prefer DPA's. They're a bit bigger - but in my opinion, they match closest to a Schoeps etc.. than any other lav I've heard.
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