Jump to content


  • Content count

  • Joined

  • Last visited

  • Days Won


About berniebeaudry

  • Rank
    Hero Member
  • Birthday 07/25/1954

Profile Information

  • Location
  • Interested in Sound for Picture
  • About
    location sound and live broadcast A2
  1. Which Schoeps mics for documentaries?

    The weight of the Piano doesn't bother me at all. As was stated its lighter than the Rycote offerings. It also gives more wind protection with shorter fur so it can be placed a little easier without getting into the shot.
  2. Which Schoeps mics for documentaries?

    I don't use my MK41 outdoors so I only have a regular foam for it. I'm looking at the Bubblebee spacer or similiar for it so I can use it outdoors too. I own the PIA-1 for my CMIT and I love it! I mainly keep the short fur on it unless I'm using it indoors, then I just use the cloth inner skin. I have a higher wind furry that is no longer offered and is shorter than the two high wind versions listed. I've only had to bring it out three or four times in very high winds. Otherwise the Piano short fur is enough.
  3. NFL sideline mic

    Of course! I've got them on CBS this coming weekend!
  4. P48 to T-Power converter?

    Pete does great work!
  5. Which Schoeps mics for documentaries?

    I use a CMIT-5U for most outdoor work and the Schoeps hyper for indoor work. The CMIT can work well indoors as well as long as the acoustics are reasonable. I would also recommend a quick disconnect on your pole so you can quickly switch from one to the other. You can minimize your distance to the subject if you're not connected to camera. You can take an angle that will get you closer without getting into the shot. It might not be the ideal angle but getting the mic closer will sound nicer than a more distant pickup. Especially with the more forgiving Schoeps. Outdoors has fewer reflections so you can actually get away with more distance from the subject as long as you have a quiet mic that you can boost the gain on without getting a lot of hiss. I'd put your lav on the principle person speaking on its own channel so you can be sure you have what you need from him/her, but boom the whole group with that mic on its own channel. Another thought: Get good wind protection for the hyper so if you have a larger group outdoors you can take advantage of the wider pattern. The dead side of the mic will be you friend if you're competing with farm machinery. Booming from underneath although not ideal can often help with extreme background noise and save you from shadows as well.
  6. NFL sideline mic

    Hi Sean, What John Blankenship said is spot on for the job. A parab wouldn't be a good choice. In addition to parab I've done a similar thing for the NFL Network. I used a Schoeps CMIT-5U. I know the NFL Films sound guy and he uses the same mic. You'll see him with his long pole getting players and coaches on the bench etc. For the press conference plan on a press feed to the camera on one channel getting the mic at the podium, and your mic up near the stage/podium to get the questions from the reporters. You'll have to really ride the gain because the reporters might be quite a distance from your mic. Or you might get lucky and you end up near the guy who asks the most questions. I think my Vikings are one of the teams going over. Do you know which team you're covering yet? Off topic: I worked the game against the Packers this Sunday but not as a parab op but field A2. I got to keep track of sideline reporter Erin Andrews for the game. The crew was the same one that was working the day I got trampled. So a fun reunion since its been almost a year since that happened. I was told the producer has a clip of the collision and still plays it before every game.
  7. Best mic for specific location

    I'd at least try a directional lav. Not the big bulky ones that they use when a PA system is involved but one of the small ones. They're delivering directly to lens and its ok for the lav to be seen. If would be easiest/best on suits as you could put it on the tie and be assured its on pattern. Might be trickier with woman's wardrobe. Another thought is a dynamic mic on the boom. If you can get it in close enough and still be out of frame. You could put a Cloud lifter or similar booster on it to be sure you have enough gain.
  8. Speedy Recovery

    Jeff, all the best for a quick recovery!
  9. Ursa Strap

    I used to make some straps long ago that weren't as nice as Neopax or Ursa but I did manage to sell quite a few of them. Competition and innovation often go hand in hand. Seeing ways existing products can be improved upon keeps things moving forward for all of us.
  10. RIP - Ed Greene

    I had the great pleasure of working with Ed twice here in Minnesota. This was back when I was a very inexperienced A2. We had some wonderful conversations and I learned a great deal about how he approached mixing the big shows. I concur with Glen about his kind, helpful, mentoring nature, and would add he had a great sense of humor. I don't remember the jokes anymore, but he had some good ones!
  11. iZotope RX6 and beyond...

    I'm a user of RX6 Advanced and I take it upon myself to practice on and learn the software on terrible sounding tracks whenever I get the chance. Fortunately as a PSM these tracks aren't mine but downloads from Gear Sluts or other forums that deal with post. Its the "can anything be done to save this track" scenario. There's the old saying that states "you can't polish a turd". With RX6 and other post tools you actually can polish the turd to a point but it will never be what you could have if the track was recorded well in the first place. The ability to synthesize unrecoverable dialogue might change all that but in my opinion it would still be worth it to do the best you can on set. One of the first things I notice if I watch a low budget movie or any project that didn't get it right on set is noise reduction if its done poorly and/or overcooked. The tools are complex and may not work the way you think they do and its a process that works differently on every new track. Its also time consuming if you do it right.
  12. Lectrosonics LT vs SMQV

    Thank you! I bought the LTs and LRs when they first became available. The SRCs weren't even introduced until over a year or more later. I probably would have gone with them if they were available. I don't have too much trouble using the IR sync or using the menus. The SRs weren't available or even introduced when I bought these. I was a fairly early adaptor of the LT/LRs. I just wanted something new, smaller, and lighter for my bag. I had all 211s that I wanted to move while they still had good value.
  13. RIP LOON

    Jim I'm so sorry you lost your best friend! Thanks so much for telling us what was going on behind the scenes.
  14. Un-corrupt WAV files with Audacity

    tried again. Got some sound files that would play (maybe all of them) surrounded by digital hash. The files are a little fast when I play them in Audacity.
  15. Un-corrupt WAV files with Audacity

    Anyone know of a way to import the disk that comes up as unreadable into Audacity? I can see it in Disk Utility.