soundpod

I was asked that once, I said 'yeah sure happy to help if I can' But I didn't help out at all because I was too busy doing sound!

The congressman's tie knot looks like it has a mic in it.

What model Aquarian were you using? I know one of their models has a low impedance output which works well with our standard preamps. While most of their model have a high impedance output. Maybe you were hearing the effect of this impedance mismatch? They sell adaptor cables for those mics. I was recently on a field trip where we had a couple of DPA Hydrophone and some Aquarian Audio Hydrophones. They sounded different but tonally pretty comparable. We ran the Aquarian Hydrophones through some type of impedance matching barrel adaptor. It was not my setup so Im not sure of the specifics.

I recently bought a couple of hydrophones off ebay from a seller who acquired a large batch of ones that had been taken off US navy submarines. They seem to need impedance matching, which I'm working on a solution for at the moment. So I think they are high impedance piezo heads. I think the barrel adaptor impedance matching solution is going to cost as much as the mics did, but if it all works out I will be very happy.

I have a B preamp and use the high freq lift when its in a rycote with Windjammer.

Another point is to have the camera array and the mic aligned in a consistent orientation. And I think this needs to have a knowledgable person tracking this through the whole post process as well. Best to have this conversation in pre. Along with delivery format etc. Once when I've tried to designate a 'front' to the camera so I can align up the front of the mic, the camera people smiled and said, 'but there is no front.' They just didn't get that I had to align the mic up correctly. And when setting up for the first shot is not the time to try and get people to think things through. On another shoot I heard they rotated the image without a thought for the sound, so they had to rotate the sound later on in the edit and guess the correct orientation. It was a very busy city scene with a lot going on and I think they spent a lot of time trying to get it right.

I just bought a couple of Tacit cables and they are no good with my HMa/8060 combo. Sounds fine when hardwired, but through the HMa I get what sounds like a loose cable crackle and occasional low freq rumble. I Haven't tried it with my dpa 4017b and i don't think I will bother.

My 2c... If they want a link/scratch track I charge for it. I just picked up an Alexa mini cable for my own peace of mind. I see the cable as part of the link hire. Personally I would stick with cables as it is easier to build into the camera, while the A-box needs cam dept to rig it on. nick

For R1a's the 520, if not changed at lunch, would start dropping out on the last scene of a 10hr shoot day. No fun. In general 700's get through the last scene, but I prefer to change at lunch anyway.

Has anyone checked if there is timecode out? Nothing in the literature mentions it, but I'm hoping for a surprise! Thanks, NIck

I was given this letter back in 2001 by a Dolby Consultant when I met him at one of the Sound Post houses here in Australia. I don't know where he got it from. It has been hiding in a box since then, and I have been trying to find it for most of those years. I finally dug it out last week, I was then able to scan it and post it so it will not be lost again.

Thanks for the correction Jim, I mixed the names up. I've edited the original post. Its a great letter and I feel like it has a hint of gonzo journalism.

I thought this may be of interest to people here. I was given a copy of this letter back in 2001, it has lived in a box hidden until last week, when I finally found it. It is a letter written in 1977 by Eugene Jones, a documentary filmmaker who made a documentary called "The Face of War". This documentary was shown to the actors on Apocalypse during rehearsals and Jones was asked to supply some notes on the sound of war as a reference for the sound post work on Apocalypse. Its a great read, a document of its time. As you may note, page 22 is missing, thats how I received it. If anyone has a copy with page 22, I'd love to see it. Enjoy the read Nick G. The_Sound_of_War.PDF

They will be well looked after, tucked up in their cases. I'm not sure how old they are. The guy I got them off bought them over from europe, and he said thats what they used before Rycote wind protection became available. Anyone know when did Rycote started?

Just came across this and thought of this thread https://secure.johnbarry.com.au/img/category/description/Anglissimo_right_angle_plug.pdf

I picked this up recently from a colleague who has retired from the business. It works surprisingly well, there are 3 layers that can be used as required. its a metal frame with a 'stocking' type material covering. I believe it is called a Janisse (say it with a french accent) But I am wondering if I have that wrong. Can Anyone confirm? French made, very simple, light and effective.

From what I understand, both of the above are lining up -20dbFS from the mixer to -10 on the transmitter. That would be pushing very hard into the Tx limiters. Seems a bit off to me. BTW, I very rarely use these as hops.

Having a good working relationship with the operator is the best way. Always listen to instructions being given to the camera dept, then you will know about those reframes or pans/tilts etc. Dipping into frame and being called out is the best way to get an edge, choose the right time, dip the boom in and look over and they will signal you out to the edge. Also check for shadows and don't be afraid to ask. I had a conversation recently with a DP and he mentioned that a lot of the new boom ops never ask for edges or check for shadows. I think how a boom op works with camera dept is one of the indicators of experience. We work in a collaborative job and as a boom op it is your responsibility to know the frame and work with cam dept to mic the scene as best as possible.

yes it's standard lemo timecode connector. But it's in a really awkward position, therefore a right angled one would be great to have, if the angle comes out in the correct orientation.

I found this in an australian cinematography book.... crazy, and I'm glad times have changed.

It's already been mentioned, but wind protection may need to be added. The steel mesh that comes with a lot of mic's like the cos11 isn't enough for exterior. A little creative work with some tape and a rycote overcover can handle a fair amount of wind. If it really gets windy, you may be struggling.

Tried out the Marshall Lynx 702 monitors for the first time the other day. They seem to be very good. One observation I have is they go blue screen very easily when the terradek signal falters. The marshals were going blue while video village showed the breakup. How do the Black Magic monitors go with regards blue screen and displaying breakup?

You can download the free "wave agent" program that Sound Devices offer. This creates sound reports and you can have a look at all the options and fields available.

And make all the existing Cinesaddles disappear...

I remember seeing some behind the scenes of 'The Muppets' and they were wearing headbands. I can't quite remember, but they may have had a small flexible boom attached. I just found this