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    Maybe more importantly they fixed a pretty serious bug where you could lose a recording if you renamed a previous take.
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    No supplier in our industry would ever ever make false claims. Hippo Skin is only for closing surgical incisions on a hippopotamus. Any other use is a violation of US Hippo health confidentiality law. Joe's Sticky Stuff, which is gosh-darned useful for all kinds of temporary sticking, is unfortunately only generated when Joe gets excited. (Tentacle Sync can be used only when shooting hentai.)
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    The concrete blocks that once protected Britain More than 100 years ago acoustic mirrors along the coast of England were used to detect the sound of approaching German zeppelins. The concave concrete structures were designed to pick up sound waves from enemy aircraft, making it possible to predict their flight trajectory, giving enough time for ground forces to be alerted to defend the towns and cities of Britain. Image copyright Joe Pettet-Smith Image caption The sound mirror at Abbot's Cliff, between Folkestone and Dover. "When I originally arrived at the cliff's edge, the sun was creating a harsh shadow down the face of the concave which wouldn't have done the structure any justice'" says Pettet-Smith. "I knew it was going to pass at some point so I just got my book out and waited. Around three or four hours passed and eventually the sunlight started making the eclipse in the concave that makes the picture what it is." Invented by Dr. William Sansome Tucke and known as sound mirrors, their development continued until the mid-1930s, when radar made them obsolete. Joe Pettet-Smith set out to photograph all the remaining structures following a conversation with his father, who told him about these large concrete structures dotted along the coastline between Brighton and Dover. Image copyright Joe Pettet-Smith Image caption "From what I can gather from old Ordnance Survey aerial photos, this sound mirror at Warden Point on the Isle of Sheppey used to be mounted on the neighbouring cliff, but has since fallen into the sea due to coastal erosion. When the tide is up it is nearly entirely submerged so I had to work out when the tide was going to be fully out to be able to photograph it. It was then a case of finding an angle that accentuated the curve of the surviving section of concave," says Pettet-Smith. "When I was a child my father told me stories about my grandfather and his involvement in radar," says Pettet-Smith. "One of his recurring joke's has always gone along the lines of: 'It's not rocket science, I should know, my Dad was a rocket scientist.'" Initially Pettet-Smith was drawn to the family connection, but after researching early aircraft defence experiments, he became fascinated by the story of the sound mirrors. Image copyright Joe Pettet-Smith Image caption "When this structure was constructed in Redcar in about 1916 the surrounding area would have been marshland. It was built away from the population to avoid any intruding sound pollution," says Pettet-Smith. "Today it stands on the edge of a housing estate. So there I was, tripod half on the pavement half off, jacket over my head framing up the picture when I notice a few bystanders have started to stop and stare. One lad said he passed by it every day but didn't know what it was, let alone that it was one of many up and down the country." "I began to think more and more about the relationship between art, science and the creative process. Experimentation and ultimately failure are an intrinsic commonality of all three. "The sound mirror experiment, this idea of having a chain of concrete structures facing the Channel using sound to detect the flight trajectory of enemy aircraft, was just that - an experiment. They tried many different sizes and designs before the project was scrapped when radar was introduced. "The science was solid, but aircraft kept getting faster and quieter, which made them obsolete." Image copyright Joe Pettet-Smith Image caption "This is in a farmer's field in Yorkshire," says Pettet-Smith. "On Google Maps a landline number pops up for a caravan site next door. After speaking to them, I got the number for the chap who owns the field and he kindly said it was okay for me to cut across and photograph the structure. So my thanks go to Peter for this one. Luckily his sheep were in the next field along. Interestingly the Kilnsea mirror is one of the only structures to still have the remnants of the metal microphone pole that would have originally been used." Pettet-Smith used an old wooden large format plate camera to record the structures, partly because he wanted to use technology that was around at the time, and secondly as it allowed him to correct the perspective of the structure in-camera without resorting to manipulation at a later date. "Some of the structures were removed by local councils; many more were planned but never built. This series is a celebration and a cataloguing of all the remaining examples." Image copyright Joe Pettet-Smith Image caption "The design of the Selsey mirror in East Sussex matches structures on the Northern coast in Boulby, Redcar and Sunderland, but the opposite side has been bricked up," says Pettet-Smith. "The letter box had a mobile number on it and so I left a voicemail. That evening Darren, the owner, called me back and we spoke at length about the sound mirrors and the peculiar history of the Selsey mirror. Unlike the other remaining mirrors, the Selsey mirror is a Grade II listed building and was converted into a domestic residence shortly after the end of World War Two." Image copyright Joe Pettet-Smith Image caption Boulby sound mirror on the Yorkshire coast Image copyright Joe Pettet-Smith Image caption The sound mirror at Namey Hill in Fulwell, near Sunderland Image copyright Joe Pettet-Smith Image caption The sound mirror at Fan Bay, Dover, has a diameter of 15ft. Image copyright Joe Pettet-Smith Image caption A larger 30ft mirror can be found nearby. Image copyright Joe Pettet-Smith Image caption There are three sound mirrors on the coast at Denge near Dungeness. The first is 20ft. Image copyright Joe Pettet-Smith Image caption Nearby sits this one, which is 30ft. Image copyright Joe Pettet-Smith Image caption The largest of them is a 200ft sound mirror. Image copyright Joe Pettet-Smith Image caption The sound mirror at Hythe was built in 1923. All photographs by Joe Pettet-Smith https://www.bbc.com/news/in-pictures-46348917 Copyright © 2019 BBC.
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    We are. I was an early adopter of the TCB. Talked to the folks at Denecke late last year about that slate and was told it was not going away, but hinted at something in the works. So time will tell.
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    633, 4 channels of Zaxcom wireless (fully color coded from transmitter to receivers to cables to 633), K-Tek Stingray Small, Audioroot, Sennheiser SK100 for IFB and camera guide sends, Ultrasync ONE for timecode transmission
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    ..a few pics of a recent little DIY project... Got a CMIT. I didn't feel like buying a new basket/windjammer, and hauling two around, so I DIY'd the parts I needed. The old black one on the left held the 416. The newly minted one next to it holds the new lime flavored CMIT. The durometer of the rubber bars was a trick to match, and I broke it three times in search of an adhesive that would bond the rubber bars securely to the nylon and aluminum (I'll skip the aluminum on the next one). The two rails are made of thick walled stainless steel tubing, and are seriously strong. All of my mismatched 1/4"-20 set screws bug me. The wind's howling here in Tampa right now. 15 feet up, no windrush at all. Just for fun, I had to swing the boom around rather wildly to hear any windrush at all, something that's very unlikely to happen when it matters. It sounds great. I expected more handling noise, but it's the about the same as with the 416. So I'm very pleased. One basket and black cat does both mics now. Travel light. My new motto.
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    Thanks, Sound Devices! Yeah, they listened to the requests and made it happen - auto mute on AUX outputs while in Stop for 688 and 633: https://www.sounddevices.com/support/downloads/633-firmware
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    Maybe it could be modified and then used as a camera return ... it won't harm any UHF frequencies used for mikes + hops.
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    muffins. yes. they are still cheerios.
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    Yep, wrapped the gear tie around the inside of the D ring and back under the webbing. Works really well
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    I have a WrineX charger for my NP50s and it is absolutely brilliant. I cannot recommend it highly enough. On the topic of 'stuff' that might look entirely similar to OEM stuff..... I have a pal who used to own a company making LED lights for film and TV. He had deals with numerous LED manufacturers, Philips, Cree, etc..... Part of his deal stated that the LEDs would have to be delivered to him with no more than a certain (very small) percentage of colour difference between the entire LED delivery that came to him. The manufacturer tested and graded the LEDs, taking out something like the top 2% to go to my mate's company. This was expensive, but not so much as buying the 'cheaper', less accurate coloured LEDs, and throwing out the 'bad ones'. As an aside.... he wouldn't make an LED lamp that way nowadays. Now he would design with built in self colour checking, and some sort of fuzzy logic along the lines of 'more red, less blue' until the (measured) target colour is reached..... On the topic of QC.... I recently worked on a dance dhow where the audience get to 'vote' if they like what they are seeing. Each seat has a small led ringlight on a stick - the 'ring' sits above the occupant's shoulder. When they vote the ring changes colour. The lights add somewhat to the overall lightshow for the show. I got talking to the chap from the company who had supplied the entire voting system, including the ringlights. He told me that had pulled the whole system together in about 14 or so weeks, from commission to delivery, though they had done the design work in advance, and had taken the precaution of lining up a Chinese manufacturer to make the (some thousands of) led populated boards for the rings. They deliberately over ordered, knowing that there would be failures 'out of the box'. They nearly didnt make the delivery, on account of the failure rate, which was, apparently, nearly 50% !!!!! Regards, Simon B
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    I know a couple of users out there who prefer them over the ambient solution. See also Jared his comment under his review: https://wavreport.com/2019/01/10/review-rycote-pcs-boom-quick-release-system/
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    @chrismedr as a rental rule, most sound mixers charge what rental houses charge. The rental brochure on the LSC site is essentially a guideline for a good majority of us. When I am negotiating with production, I quote my base rate and rental, and refer to anything outside of a basic kit on an à la carte basis using their rental brochure as reference. I recommend everyone do the same as a baseline price (feel free to charge more!), that way we will all be quoting the same and no production will act surprised when they hear the numbers. At least in the US. Other countries may use rental prices from an established rental house as their own reference. Indie films are an obvious exception to the rule, but I’ve found that when issuing an itemized invoice, people rarely push back.
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    Check this vid at 3:25:
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    Noise level is critical when recording atmosphere tracks but with run of the mill sound fx it is less critical. Research the noise level specs of the two microphones and maybe borrow an 8060 and compare. I use Sanken mikes for all my work and my Sanken stereo has delivered hours of great tracks mike
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    https://www.osac.gov/Pages/ContentReportPDF.aspx?cid=17704 Traveling in hot climates can make you sick, especially if you are not accustomed to the heat. People at highest risk are the elderly, young children, and people with chronic illnesses, but even young and healthy people can get sick from heat if they participate in strenuous physical activities during hot weather. When you are not in an air-conditioned building, take these steps to prevent heat-related illnesses, injuries, and deaths when traveling in hot climates: · Drink plenty of fluids. · Wear loose, lightweight, light-colored clothing and sunscreen. · Try to schedule outdoor activities during cooler parts of the day. · Rest often, and try to stay in the shade when outdoors. · If you will be doing strenuous activities in the heat, try to get adjusted before you leave by exercising one hour per day in the heat. Overheating can result in heat exhaustion or heat stroke. Symptoms include excessive thirst, profuse sweating, headache, dizziness or confusion, and nausea. If you or anyone you are traveling with develops these symptoms, get out of the sun https://en.wikipedia.org/wiki/Dehydration A body water loss of 1-2%, considered mild dehydration, is shown to impair cognitive performance.[4]In people over age 50, the body's thirst sensation diminishes and continues diminishing with age. http://www.system-safety.com/articles/Dehydration.htm Here are some of the most common symptoms or indicators of dehydration. 1. Lips and later mouth feel dry 2. Heart rate and breathing increases—————————I experience these symptoms 3. Blood pressure begins to drop 4. Begin to feel fatigued—————————I experience these symptoms 5. A nagging headache may develop and become progressively worse 6. Decreased urine output 7. Begin to feel thirsty 8. Begin to become mentally irritated and depressed—————————I experience these symptoms 9. Eyes begin to become sunken 10. Skin begins to become wrinkled 11. May develop a stomach ache—————————I experience these symptoms 12. May begin to experience lower back pain—————————I experience these symptoms 13. Become dizzy, 14. Become mentally confused—————————I experience these symptoms 15. As dehydration becomes severe the person slips into a coma and if the cardiovascular system collapses, the person dies. Amazon sun hat Get a headlamp with the red led option for nighttime. Amazon Energizer headlamp with RED LED feature Camelbak Amazon You have to rinse and wash the Camelbak reservoir thoroughly before use to get rid of the plastic taste. I don't use the bladder reservoirs often, I have three I have never used. The bladders come free with the packs. I prefer these. Amazon klean kanteen I got one of these, but there very difficult to find. In black anyway. Hip Pouch Camelbak Its great for a little LAV box, spare TX, spare IFB, spare batts, tape scissors, LAV weight. I just saved a DP some trouble by supplying him 9v that I had ready to hand to him.
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    i used to give my students a mantra on the first day of my postpro class at Berklee: "Everybody say after me, 'Never give the clients what they ask for'." They'd repeat, and then while they were laughing I'd interrupt: "That's only the first half. The rest is 'Always give the clients what they want!'" If a client knew how to tune a parametric or cut a song so it sounds like it was written that way, they'd do it themselves. But they do know that something about the timbre isn't working, and the song doesn't land in the right place. So you have to listen past what they're asking for, and figure out what they're really trying to accomplish. Then do it, and they'll walk away believing you're the only soundie who appreciates their genius.
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    Let them check the php process limit. No matter how high you set the upload limit in the software, if the php settings are capped at a certain time to process things it will stuck.
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    Hi Mathias, is your bag an OR30? I have a very similar set up, and I'm going to replace my old petrol PS607. I'm looking for something a little larger then mine, and the OR30 seems a good choice. Thanks a lot!
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    As Phil and others suggest, for Oktavas, it REALLY helps to hear the exact microphone you're going to buy. Or buy from The Sound Room, which in the past (and probably still currently) had a good track record of actually rejecting (and not selling) individual mics with serious flaws. That's where my MK-012s came from, and they seem pretty good for the breed. https://sound-room.com/home For you, living way away from everything, maybe see if a mixer or two will be visiting the Main Workshops in Rockport. Or maybe trek down to Boston and buy lunch for a couple local mixers (there are some good ones in that town). Or head down to NYC and visit Gotham Sound (and perhaps a couple friendly/hungry mixers), and give a bunch of mics a listen. I've rented/demoed mics before buying; good dealers can help arrange that...sometimes the rental fee can be applied towards the purchase price. But you know, I've bought microphones without first hearing them. Based on my experience with other mics, the opinions of people I trust (including many here), and the ability to return a mic if it really isn't working for me, that works. Also, I just do small jobs. Unlike a bunch of people here, I don't own and buy tons of mics. There's no local location-audio dealer here (San Francisco bay area), and I'm dealing with it. For the better mics, there's consistency from unit to unit...also note that for these mics, specialty dealers such at Gotham, Trew, and others offer basically the same prices as the box stores such as B&H, Sweetwater, etc...and the specialty dealers usually offer expertise in our arcane field. (Sorry if this is all obvious).
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    Sounds like a smart plan Daniel. The gear only gets better as time goes bye. All gear is important, but experience (booming or mixing) is what everyone needs more of. In a couple of months I'll be 40 years deep in local 695 and I learn new stuff all the time. Keep dreaming and thinking about the gear you want, but practice and work your people skills everyday. They are equal to gear in doing any job. CrewC
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    Yah me too.....sell and retire?
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    Well I'm even more confused now. Having had the opportunity this morning to perform some controlled tests with my two SMa's and six SMDB's with all my microphones (servo and non) everything appears to be correct. The non servo appear to be approximately 8-10db louder than the servo wired mics which now don't hiss on my SMa's. So I'll need to chalk it down to tiredness, gain structure employed on the mixer (so was hearing more circuitry noise due to to higher gain on that channel),the quite room I was filming in when I "thought" my SMa's were hissing and/or maybe not seating the mic correctly into the transmitter? Mystery solved I guess? Thanks Larry and Jim.