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Jeff Wexler

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About Jeff Wexler

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    Santa Monica, CA USA
  • About
    Jeffrey S. Wexler, CAS Host of jwsound Discussion Group
  • Interested in Sound for Picture
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  1. JBond's Nagra section is one of the best things JWSOUND site has to offer. I appreciate the incredible indexing you have done, what a lot of work! I do hear from so many people that one of the things they really like about JWSOUND is that it is a great archive. I wish the forum structure had better search routines and indexing functions but sadly it does not. I continue to explore other more modern platforms but haven't yet discovered anything that would significantly improve the site (and I worry that we might lose a lot of stuff doing any sort of conversion or migration to a different platform). Also, the basic model for social media as we all know is Facebook, Tip Tok, Instagram, etc., and all of these are miserable in terms of searching for historical posts -- they are all about immediate and flashy posts that capture the limited attention span of most people these days.
  2. Maybe I'm missing something here, but I have only one question: why? I see no reason to go to the effort of pulling a telephone apart and placing a transmitter and a mic in the handset --- maybe for some specialty project, a surveillance video or hidden camera sort of thing or something, if it is a regular scripted narrative that happens to have an actor on a phone, why not just mic the scene as you always would? I have, of course, had to deal with scenes in movies where we need to make the actual phone set practical (so that two actors can converse, sometimes in two different locations, but that doesn't seem to be what is being discussed). One simple reason why a mic placed in the telephone handset is a bad idea: will there be any other actors who speak in the scene with the main actor making a phone call? You know that a lav mic placed in the phone, however it is done, will have a very specific "color" and tone to the voice --- what happens when that same actor finishes his or her phone call, puts the phone down and starts talking to the other actor? In this case, you will mic the scene as you always do, possibly booming both actors -- the difference in tonality will be very apparent and an audience won't know why they feel the scene does not feel authentic.
  3. Looks good, Phil, and the covers you did and mods seem to do a good job adapting the Innovative to our production environment. It really shines as a "stand up" working cart (something I could never get into, all of my carts were definitely designed for sitting). I'm putting your pictures up on the Gallery of Sound Carts.
  4. We have been blessed all these years to have JBond as a core member of our online community, representing the history of the Nagra recorder that was so much a part of most all of our lives. The wealth of information available here is immeasurable --- we all owe a debt of gratitude for your tireless efforts. We hail you and your commitment and dedication (and all the hard work that goers into your posts).
  5. Simple answer: No. As said by others, you may find a 2.4ghz wireless that performs quite well in some situations but is totally useless in other situations, environments, and even sometimes in the same environment on the same day. So, you could use these low cost 2.4ghz devices if you have to but you will get royally burned at some point and it could cost you your job. None of the high end digital wireless operate in the 2.4 ghz range.
  6. I think possibly Zaxcom felt that these products are so far out of the professional arena that it wasn't worth the time and expense to defend the patent regarding these specific devices. I may not be correct on this but it is quite possible that is how they "dodged" having a legal patent dispute. It could as well relate to whether these devices have smite timecode or not, etc., etc.
  7. Anyone able to be in Atlanta on Sunday, September 25th, Glenn Sanders and Colleen will be doing a full Zaxcom workshop going through the whole Zaxcom ecosystem. Should be a great event.
  8. I agree with what Ollie has said completely --- team work, team building, personal relationships, all these things are so important and often begin on the tech scout. On the scout I find some of the most useful observations, for me, are the interactions between the DP, the Director, the Key Grip, Location Manager, etc. All of this will often provide more benefit for the sound than any piece of equipment I can purchase. I was so fortunate in my career, similar to what Paul Ledfrod has said, to have worked mostly with people who always wanted me on board from the very beginning of pre-production. This sort of collaboration is was really the gold for me, made my participation on movies so much more satisfying (and also provided the opportunity to do really good work).
  9. Terrible attitude from that UPM. The good ones know the value of the tech scout but the desire to save money often overrides their better judgement. It is true, the sound will be what it is, but as a UPM you can either be professional and helpful for the whole project, the whole crew, or you can sacrifice some department (and it's often sound) and get away with it. That's when the trend begins to take hold, that sound doesn't need to be on the tech scouts.
  10. I don't consider this a hijacking at all (and I do not assert any moderation on discussions that occur after the initial post. The question about battery life came up and within the context of this post the subject is not limited to only talking about the Sound Devices A20. Both Paul Isaacs and Glenn Sanders weighed in on the battery run time issue and there is northing wrong with that being in this discussion.
  11. When the Director wants to do both sides of phone conversation at the same time and make it as real as possible, I always counted on Props to have practical phone sets. Separate the actors physically to achieve audio isolation (different rooms or isolated part of the same stage) and have them have a regular conversation over the phone (this will feel as natural as is possible). This will work even when they want to shoot with 2 cameras, one in each room to cover each actor's dialog. Mic each actor, have iso tracks for each, do a mix which is sent to all the usual suspects to monitor the dialog (Director, Script, etc.). Do not try and futz anything --- leave that "creative" decision to post sound people.
  12. Jeff Wexler

    Donations

    We are celebrating the 16th anniversary of the JWSOUND site which continues to be a vibrant and highly popular resource for our sound community. I have seldom asked for donations to support this site , over the years there have been so many spontaneous and generous unsolicited donations it has been a real help in running the site. At this time I am asking for donations if you are able to as the expense of running the site has increased (hasn't everything except our wages!) I have never strived to monetize this site as many other sites have and there has been over the years substantial support from the paid advertising banners running on the site. Many of the companies that did advertise on the site in the past however have made the decisions that their ad budgets can be spent elsewhere more effectively. A few companies pulled their paid advertising and just used the site, regular postings, to run full advertising, promotion and customer support from the site. I have worked to minimize this as it is not fair to the companies that pay for advertising. Donations of any size will be greatly appreciated and will help with the expense of running the site. Thank you in advance for your continuing support. LINK to Donation
  13. Great story, Philip! I remember as a kid thumbing through my father's American Cinematographer's Handbook just because I was fascinated by all that stuff. That book as well as numerous questions I used to ask Pop (which he always answered so perfectly and completely) formed the basis for my learning how movies are made, how sound is recorded. When I got my first job doing sound (because I wasn't going to try and do camera), I read the Kudelski Nagra manual cover to cover, spending as much time with each section to really understand the machine. It was a very well written manual, not just a simple "push this button to record) type of manual. There was actually a lot of theory behind the difference between High Pass and Low Frequency Attenuation when describing the filter setting (HP1, LF1, etc).
  14. I agree with Constantin here but would add that I feel it is vital that the sound mixer already has some feeling for the art of listening, something which aspect of which can be taught once there is a fundamental love for our ability to listen. For me personally, I can remember so many indicators even back to about the age of two, of the joy and interest I had experiencing the world around me using sound. Not to say I am not a visual person but I think it is safe to say that I often favor the listening experience.
  15. I don't know who coined the phrase and though I understand the spirit of that phrase I really do not like it. I cringe a little bit when I hear it said by sound people because I don't think it is useful or actually instructive. So many times the words "boom is in shot" is spoken by other crew members who are not qualified to even comment or by operators who have screwed up and are trying to cover their mistake. A more useful phrase, one to say to oneself is: I feel really good about the work, I found the ideal line for my boom mic without even getting any "help" from anyone else.
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