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It's in the Details, silly


Jan McL

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Are you having a problem with one of those cards?  I've had to sell several cards to production recently, and have just received what seems like the same two cards you show there.  A 400x and a 800x speed transcend.  I've used the 400x for a while without issue, but haven't tried the 800x yet.

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  • 2 months later...

Short story, long, a recounting of gutting the cart:

Goodness gracious, I've experienced some serious self-restraint these last weeks waiting to opine further on recent sound adventures while I couldn't post but images here. Grateful to have jwsound.net back. Thanks to Jeff and his experts for persevering and bringing this invaluable resource.

As each finger-tappingly slow week passed there occurred another dent in the string theory universe of details.

Today is a day of reflections upon a seemingly endless string of one thing and another, and another.

_______

I've never done radical surgery on my recording system before; the career gear trajectory looks like an upside down pyramid with filo dough-thin steps.

Knew it would be risky to gut the thing and start fresh but I had six weeks, Amazon Prime, lots of ongoing research and some trusty experts on speed dial. By the time we started principal photography, technical changes were made that I felt I could live with including but not limited to: 

  1. Workarounds/thoughts: 
  • RX12 unit numbers change by the TRX's passing by RX12 frequency without my express permission. Got into time constrained doo-doo more than once having to replace #___ TRX with another. Changing the unit number on the replacement TRX first thing helps.
  • Getting to the unit number on the TRX takes too much time. 
  • Unit numbers are critical in conjunction with Oasis and RX12. IMO the RX12 should be the ultimate unit number decider. The cockpit must be the master controller. No? I hear there's now an RX12 software fix for this. Can't wait to get it in.
  • Continuous testing and collection of data points for every new device and old devices that relied upon the new. There are many. I will have filled an entire notebook with them by the time we finish. 
     

     
  • Refine gain structures all over the place. Begin to rely on fewer, mostly those in the cockpit that give me correct data. My eyes scan the data streams constantly. TRX batteries. RF signal. Track assignments and arming. Scene/Take. Time code at recorder and at video. Iso levels and activity. Sometimes iso monitoring is one of my great pleasures: would often hear Edie's laughter from the next room and turn smiling to visually check her iso. 
  • Multiple adjustments in workflow: theory and practice rarely converged.
  • Deploying belts, suspenders, ropes and tape over and around everything to-wit:
  • Psychological insurance in the form of Sam Kashefi and José Frias who helped me set up the little Microsoft-toting Kangaroo so I could use just the iPad for both MovieSlate and Nomad Touch / Oasis control. Moreover, they are both brilliant 'players' of the Nomad and masters of thinking like computers (not a personal strength). I love you guys.
  • Antiperspirant in the shape of Glenn, Howy and Eric nearby who helped me multiple times to distinguish between operator error and bug. About an equal mix of both. Their gear is capable of so much it's easy to become overwhelmed by choices and in haste choose incorrectly.
  • Product and gear support from Peter Schneider and Nick Huston and the rest of the t at Gotham Sound. They went way out of their way for us more than once. My respect and affection for you may not be understated.
  • Dream-practiced startup routines, media requirements, blah, blah.

Musicians out there will appreciate that the Oasis / Nomad / RX12 cart is essentially a new instrument. An entirely new cockpit. I couldn't really rehearse on it until all the buttons and knobs were placed for hands, eyes, ears, brain. As time ran out, I called upon Sam and José to come over to the workshop multiple times to exterminate and help me distinguish operator error from insect. There was a lot to learn. I require a custom exterminator's jump suit as reward. Check.

As the time drew near to load-in, lost a day of prep. Then two. Then 3 with the smart last-minute camera sync test. Fine. Got permission from the UPM to ship Sam Kashefi in to our distant location in the event the final weekend days of testing went badly. Sam, I will never forget you for entertaining coming to GA with me. Wouldn't have survived the pressure without your good moral support.

Takeaway? Know thyself. I knew all I needed was the possibility of the correct brain nearby to fill in my experience gap in order to keep calm and carry on.

Which is not to say my game face didn't get a lot of exercise. Recent on set poem: "Forgive me, my game face is in the shop."

Nine or ten software versions with nine or ten requisite fader clearing and factory resets for two fairly complicated setups gave me a good kickstart in knowing how to operate the gear in the dark. Not near enough time to get that good, but sufficient. Fact is, I had no extra time during the first month of production as I obsessively dealt with the buttons too slowly. But there it is. As I recall learning to type, it was preferring accuracy to speed that got me eventually to the accurate speed I needed in the days of having to type with six carbon copies.

_______

So I'm slogging slowly through, have a GREAT world-class local team thanks to recommendations from Whit Norris and Tom Varga; we're getting good tracks and then there's a political / practical / psychological thing that when the dust settles, leaves me without a boom operator. Fine. We deal with that. Which is not to say there isn't some of my blood and brain matter on various Savannah streets and fields.

_______

An abundance of set feathers give me an asthma attack. Have to get a treatment and leave set after lunch. Thankfully, Antonio Arroyo was playback mixer and was able to fill in since his work was by then finished for the day. Got some good angels, Antonio Arroyo among them.

_______

On the film break mirror card change after Friday lunch Nomad balked and wouldn't recognize the mirror card. Began troubleshooting and in the course of that exercise, Nomad would no longer read the primary card either. We are close to shooting. Bring in the bag and record a couple of FX only scenes with that while I think, speak with Glenn, and agree I should swap out the cart Nomad with the bag Nomad and bring the unit to the mothership late Saturday morning.

Howy and Glenn agree it was bad media: purchased by production and not tested / inspected before being put into rotation 'cause new cart guts / instrument angst brain fullness. What was the worst thing that could happen? Hadn't considered the worst thing would be recorder death. The bad media fried Nomad's brain. 

Next morning when the unit fired up at Zaxcom and recognized all the media (including the bad media), I tossed the bad (leaving one with Howy).

It's in the details. Skip one at your peril.

The bad media takeaway: 

Quote

“You have to let the electrons leak out.” 

     -- Howy Stark, Saturday 6/9/16 11:45 a.m.,Zaxcom World Headquarters.
 


Translation: let the suspect card(s) sit out of the machine for 10 minutes. At no point in my troubleshooting did any CF card rest for more than 3 minutes, LOL. Duly noted and chastised.
_______

Nomad's flexibility through Oasis is just right for this project. Dedicated BTS mix output. Dedicated line level music output. Music/time code bank.

_______

Headphone amp distorting before tracks at just-into-the-red level. Guess that could be an early-warning blessing alerting me to concentrate on the iso track levels, so no, I'm not going to look for an outboard headphone amp solution just yet.

_______

Flash forward: nearly finished. One episode to go.

Steel car = reduced range when TRX are behind the car's frame. Free driving. One 3-page scene with earwig singing in process trailer and then hand held from behind. Formal playback from the front, sides; iphone or similar --> 30-watt self-powered speaker for from behind? Dialog is not guaranteed to be 100% monitored for the hand held work since bag will be dropped and set to record with fingers and toes crossed and IFB antennas mounted out and above the steel. I think we'll get 4-5 car lengths without issue at least with the three R1a's for me, director and script super.

AD knows it will take some time to rig. Must interface with Key Grip and Gaffer first thing Monday to assure their OK and imagine solutions. Bottom line, there was going to be a crane mounted on the camera car and no room for the cart there. Fine. Major reconfigure of bag to allow for music in/out to earwig.

That's the plan anyway.

Process trailer went rather as expected rigged with the bag <--- outrigged a pair of shark fins from cab ---> camera car rear. That was the morning. Then roll the cart down the hill for a cart setup then back to the still-rigged-with-the-bag process trailer that now towed an alternate vehicle.

Lost it early in the day when 20 minutes "in"--because the rigging / staging area had to be moved--I ended up having to stop mid-reconfiguration four times to move my crap around with the at-breakfast news that our playback / earwig operator was likely not going to show. He did, but late and me sweating bullets. Turns out our actor free-sung the tune and kept the 'wig in his pocket.

_______

Speaking with new sound utility companion video assist refugee Andrew Cavanget Friderday night, realized I don't really know how the tracks are. Have had little brain space to appreciate quality; for now others will have to be the judge. 

Know for sure the mixing has suffered. Often endeavored simply to illustrate to all the listeners and bean counters what I'd been able to get under The Circumstances. 'The Circumstances'. That's a subject for a long digression over whisky.

_______

The iPad Pro won't hold a charge even when plugged in. Must figure this out. Too many uncollated data points to type, but will say when we're on a good wifi signal, there's no problem. Have turned various boxes' witi on/off in all possible combinations. No luck there. 

_______

Andy Cavagnet spent his last day on this project with us today. He watched me mix a 4098 that was hidden in the bathroom counter via a 1/4" hole for the stationary foreground closeup lady rinsing her face then speaking. Sounded bathroomy. Lady in the background walking around in a fantastically mirrored room. He did good.

_______

"_____ days; no stories," our last week motto.

_______

XOXOX

Edited by Jan McL
Finesse syntax.
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43 minutes ago, ElanorR said:

Well.  Sounds like a fantastic time was had by all... I'm just glad you lived.  With all that troubleshooting, the next one can't help but be better.  It was good to meet you in person and put a face to the poetry.

Elanor, darlin', your presence with us was a saving grace on so many levels I cannot recount the ways.

Thank you, thank you, thank you for your good work and voice of reason.

Your fan,

Jan

17 hours ago, ao said:

Thanks for the great suggestion and information ao, the problem with this setup is the iPad Pro must be USB'd to the Kangaroo either directly or indirectly through USB hub. Both power and data come to/from iPad via Lightning. Have tried various connection configurations with no luck. USB hub and Kangaroo are AC-powered when I have AC which is most of the time. Sigh.

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1 hour ago, Jan McL said:

Thanks for the great suggestion and information ao, the problem with this setup is the iPad Pro must be USB'd to the Kangaroo either directly or indirectly through USB hub. Both power and data come to/from iPad via Lightning. Have tried various connection configurations with no luck. USB hub and Kangaroo are AC-powered when I have AC which is most of the time. Sigh.

conventional powering does not get you ahead of the power curve.  charging overnight and being connected to ac from time to time during the day might get you through the day.  

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2 hours ago, Wandering Ear said:

The Ipad needs more current than a standard usb port can provide, so it slowly drains the battery throughout the day.  Look for a USB hub that has a 2 amp charging port.  

https://discussions.apple.com/thread/4483792?tstart=0

Others have also sent me links to this discussion, including Uncle Al, here that offers solutions:

http://forums.macrumors.com/threads/yes-the-ipad-pro-charges-slowly-here’s-why.1939002/

Today's data point collection involved hooking the old iPad Mini up. It too loses charge with only OSLinx and MovieSlate8 running, wifi 'On' and connected to home router. Think I shall try running the Mini directly into the best USB port on the Kangaroo as a test.

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This device is good for a fast charge on iPhones and iPad Pro. 2.5A out of Lightning connector has proved sufficient to top the thing off for a long day in the woods, particularly if I'm taking notes by hand and leaving the iPad off except during setup changes when I do data entry. With that in hand I've not gotten too worried, nonetheless would like it to be worry-free insofar as charging is concerned. Less I have to think about the better.

https://www.amazon.com/gp/product/B00Q2B5KY2/ref=oh_aui_detailpage_o01_s00?ie=UTF8&psc=1

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Happy Birthday to me...a couple of cables!

Thanks AO for the suggestion. Will give cables a try. MacBook Pro has USBC, so in a pinch... A powered hub with USBC / 2A delivered to it might do the trick.

Mini doesn't get enough power to stay charged when mostly on MovieSlate: 5-10 minutes away from Touch / Kangaroo disconnects OSLinx so every time I wanna change scene name I have to re-boot it. I think that may tax the power...

iPad Pro back up and test running. Left on Touch it stayed at same % for an hour. Now at 100% and on MovieSlate with timer calling me every 30 minutes to check.

Screen Shot 2016-09-15 at 5.05.04 PM.png

Screen Shot 2016-09-15 at 4.28.32 PM.png

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  • 3 months later...

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.

 

rf venue zaxnet mount.jpg

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Mounting scheme looks good, Jan. I did mine based on Billy Sarokin's configuration: corner (angled) antenna and L-Com amp mounted vertically. Works well but doesn't protect the connectors in any way. I like the shape of the RF Venue antenna and I hadn't seen anyone use it with the big amp --- some people have reported that the RF Venue antenna used passively doesn't work so well (but that's probably the case with ANY of the 2.4 ghz systems). I have always used Zaxnet with a full antenna and the big amp so it has always worked well.

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12 hours ago, Jeff Wexler said:

Mounting scheme looks good, Jan. I did mine based on Billy Sarokin's configuration: corner (angled) antenna and L-Com amp mounted vertically. Works well but doesn't protect the connectors in any way. I like the shape of the RF Venue antenna and I hadn't seen anyone use it with the big amp --- some people have reported that the RF Venue antenna used passively doesn't work so well (but that's probably the case with ANY of the 2.4 ghz systems). I have always used Zaxnet with a full antenna and the big amp so it has always worked well.

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.

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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.

UMWP video assist IMG_3421 copy.jpeg

IMG_3467.JPG

IMG_3442.JPG

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Wonderful post, Jan! I love getting the direct insight into your process on "Zelda", having followed the challenges you were faced with during that show. I am also always pleased when there is communication between production and post that is detailed and thoughtful to the point that both parties can learn and grow. 

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13 hours ago, Philip Perkins said:

Hero hero hero!   You got Mark H to work with your mix!  He is a tough room!  I love the pic of you w/ cans over the cart.  Glad your Nuevo Riggo is working so well.  Jan M--Lighting The Way!

 

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.

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