Jan McL

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About Jan McL

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    Sound. Motion. Stillness.
  • Birthday January 1

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  • Location
    NY Metro
  • About
    Indie film and television production sound mixer.

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  1. ....pardon me...had to clean the coffee I laughingly spit all over the screen before typing. Ha! Good one.
  2. Like where you're going with this. Might be fun to have optional side tables, too. Wonder about your thoughts relative to having only two wheels. Perhaps simplicity is best here.
  3. Oh yeah, they fit right in!
  4. Glad you weighed in here, ao. Worked the summer having eliminated the DC power injector in the 2.4G Zaxnet chain and troubleshooting the firmware alley fight between the RX12 and its TRX's on which unit code controls. RX12's since been named permanent unit code winner. In the meantime what that meant in practical terms was that I changed my gain staging workflow: planned for TRX gain changes during scan & prep of the units rather than forgetting about it until there was an issue and solving with 2.4Ghz. Continuing bottom line even with the 2.4 system again DC injected, TRX's remain pretty much on the same gain on a per-character basis and I fine tune gain at the Nomad inputs for surprise shouts/whispers via the 'Setup' button. Furthermore scan for new freqs at every new location and choose hi and low sens mics based on the character and what I eventually learn about each's dynamic range. Should state that 8 wires are AES from RX12 --> Nomad. Have not yet needed more wires than that though wires 9-12 are available via analog. I now LOVE scanning for clear freqs. OK, that's strong, but I no longer devote fifteen minutes to re-freq all the wires and there's my lost coffee break back. Love seeing all the TRX's come back online with their meter blips. Yeah, when I re-freq they all get updated just in case. Saved my bum more than once that rule. All that to say (again) 2.4's a wuss and I'm not relying upon it to save me. With the revised workflow, it hasn't had to and I'm all the happier for it. I use R1a's for my private line comms and Comteks for the Village.
  5. So nice to have you chime in, Philip. HNY!!! Didn't ask if / how much he used my mix since it mostly sucked. Just a fact. LOLZ: "He is a tough room!" Since I only ever knew Mark in text from here and mostly from that wonderfully disruptious thread about mixing, you can imagine I might have taken a steely shot of something aged in a cask before dialing his number. Turns out, needn't have supped.
  6. Now you're a pro cat photographer, everything looks like a cat. Hazard of the trade, my friend.
  7. Learned that our own Mark Hensley was the post sound king for "Zelda" and managed to speak with him on the phone. Thanks, Mark! Admit some anticipatory trepidation since my stye is not in keeping with Mark's recommendations to PSM's here: wire everyone all the time since the first thing he said he does is toss the PSM mix. Fact is, I worked this job with the idea that the mix is less valuable to post for cutting and more important for dailies. Often times brought up this or that iso during a take just to let editorial know what we'd gotten for them and not giving that move a second...well OK, a third...thought. Bottom line was our tracks were such that Mark had time to work on the mix rather than spent fixing iso tracks. Best outcome IMO. When I asked whether he was aware of the wholly-digital signal chain that the TRX900's --> RX12 --> Nomad --> Oasis provided he said, "No," but then allowed as how #1's frequent whispers were brought up significantly without adding hiss. That's a huge performance-saving win. Mark also said that while they recorded a lot of ADR they mostly used the production tracks, "...for the performance." Yes, performance matters. He also allowed as how he would often, "...go to the boom". Yeah. Had a stellar team in Tim Cargioli, Julie Stalker-Wilde and Brendan O'Brien. Wouldn't have been as possible were it not for Elanor Rimassa, Nick Graziadei and Andrew Cavagnet so brilliantly keeping the background noise bogies and village in check, among a million other essential things. We used DPA's all the time. Put slims on #'s 1 and 2 at first; 4063's else. Soon switched in a high-sens 4063 for the quietly-spoken #1 much like I switched to a low-sens for a big character on another show. They sound so good to my ears. Took me a long time to get the new instrument panel and workflow down, mostly because I don't retain as quickly as I used to. Only now does my intestinal tract begin to unclench. Even with the workarounds, it's an incredibly flexible system; Oasis worked a charm for all the music and VOG as I anticipated. Put music / time code on the rightmost faders of Bank 3 and VOG on the leftmost of Bank 2, then set them and mostly forgot about them. We never needed more than 6-7 mics IIRC, so 8 AES proved plenty to keep the project in 0's and 1's, which was the goal. What a ride. Too soon to speak with post for OLBNY since picture's not locked. Excellent photos by Niko Tavernise.
  8. Yes! Accolades hard-earned by all. Brilliance.
  9. Yeah, I'm coming out of the corner antenna based on Billy's config too. When I saw this at Gotham last spring, preferred the size, weight and color (girlie, I know). Spent the summer with it unamped and decided to go back to powered. Much better.
  10. Revisiting this thread since the bunch of us (Brendan O'Brien and newly-minted Local 52 brother Austin Moore along with Egor Panchenko and his outstanding out-of-craft video assist additional whose name I forget at the moment) finished a little motion picture. The two-week break between the end of "Zelda" and the beginning of Marc Webb's shoestring "The Only Living Boy in New York" was just enough to contemplate and prepare a couple improvements. Had a little time to critically listen. Missed being able to adjust some EQ just to the mix, but there it is. One improvement idea arrived today (see photo) having stared at it for a week. Simple solution to mount the 2.4 Ghz amp to the RfVenue antenna that we failed to figure out while on the clock for 6 weeks. Such are the limits of the human brain. The amp had been mounted rotated 180-degrees and to the right of the antenna and that arrangement left the N-connecters exposed to direct rain. One hole drilled; one to fill. I'm liking how the TRX's --> RX12 --> Nomad --> Oasis sounds. Took some getting used to. Need convos with post. Check. Not much to do for pending work, thankfully. Glad to have another trip with the same cart.
  11. Decade! Decade-nce. No, I did not just type that. So for sure there's something GOOD happening in 2017! Yay. Congrats, Jeff.
  12. Devastated for Germany, Berlin and the families and friends of those so tragically lost and what it means for the future of humanity everywhere.
  13. A properly diameter'ed coffee stir straw. Cut to length and a wee bit of Joe's Sticky Stuff to keep it on the antenna. I had a gal who was sweating profusely from hot flashes upon whom this worked a charm after a lost a lot of range with her TRX. I keep a couple of those straws in the drawer. Might want to add some moleskin to the top since the edge is sharp.
  14. Great news! Congratulations, y'all.
  15. DPA headset mics: https://www.google.com/search?q=dpa+headset+mic&rlz=1C5CHFA_enUS690US690&source=univ&tbm=shop&tbo=u&sa=X&ved=0ahUKEwjV1-eMp6vPAhWKez4KHbnMBSMQsxgIHg&biw=1275&bih=676