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About rodpaul

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  • Interested in Sound for Picture
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    Dir/Dp now brought into the audio side due to industry pressures

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  1. rodpaul

    What case to get next

    Pelican Air cases do appear less sturdy, but I've shipped them maxed out with gear to several third world destinations and never had a problem - they're made from some new material that has flex but doesn't break. Pelican also has a partition system for them that helps make the most out of the space. I've got two of the Airs that are exactly the max allowed size for baggage which is handy, and I switch to run bags once unpacked. I've got a bad back and always look for anything lighter.
  2. rodpaul

    Boom op-less

    If they can afford ADR to fix production recording, then why can't they pay for a boom op? Have they priced ADR?
  3. I must have gone to the wrong tab - I could have sworn this was an audio forum. As a DP and camera owner (no Reds now or ever), I concur that digital cinema cameras are not simply designed for recording audio - which is often integrated almost as an afterthought. In fact early digital cameras weren't great on time code either. I'm impressed with the knowledge most audio guys bring to shoots as I guess understanding the various models is a fact of life now. Note that Mr. Jannard came with a background in sunglasses, not film, which is probably why his designs excelled at sensor design but were (and maybe are) among the least user friendly and reliable cameras around. For contrast look at the stories around this week about Arri, a brand now 100 years old. Not to pile on Reds anymore, but my old Auricon conversion recorded better sound. And if you got the mic far enough away, you could even avoid hearing the camera occasionally... and it never needed rebooting.
  4. rodpaul

    NEW: Timecode Systems | UltraSync One

    Had a BlackMagic recorder with mini BNCs and they malfunctioned or broke regularly. Not the kind of connector that belongs on a camera. I've got a Mozegear TIG28 which works great except for the lack of display. As a camera owner, I don't want more cables. The single Hirose on the Sony cameras are often used for start stop buttons on handgrips, making them unavailable for ext power. Just picked up the Betso TCX 2, which ticks all the boxes - nice display, one cable, long battery life and a simple AA batt which I have plenty of already. Looked at the UltraSync, which looked fine until I saw the Betso next to it - looks like UltraSync missed the teeny TC memo.
  5. rodpaul

    Zaxcom Maxx AES out & Sony F5 not working

    My F55 gets AES from my 633 just fine. This was enabled quite a few firmware levels ago. Haven't heard that complaint on any of the Sony boards.
  6. rodpaul

    Pelican transport case

    I've bought two of the big Pelican Airs. They are exactly the size of the largest cases most airlines will accept. Agree with the comment about flex, but I have traveled internationally several times with these filled to capacity and they did fine. The cases are made from a different material than the original Pelicans and presumably they are equally tough.
  7. rodpaul

    sound devices 633 inputs 4-6

    I discovered the lack of limiters on 4 - 6 the hard way also, although it is explained clearly in the manual. Less intuitive is the location of the trim control for those inputs, however I have adjusted to using 1 - 3 for situations where the limiters may be needed - and they work well, and I'm very careful in the rare cases where 4 -6 are needed. I run the gain up on the Lectro transmitters as Larry F has suggested and find the limiters sound OK. I keep the mixer levels low enough on 4 - 6 to ensure there is no yellow ever with peak display, and it sounds fine. There are tradeoffs with all gear, and the 633 is a terrific mixer in a small package. Reading the manual carefully helps get the most out of the machine. If you regularly need more than 3 inputs then there are probably better options.
  8. rodpaul

    What is the sound mixers responsibilities?

    Great cross to the 633 Dugan thread - having a decent track recorded in camera can help immensely, and the better the tracks sound in edit the easier client approval is. I would think this would also make final mix with the ISOs much easier. Speaking as a shooter, there is little to like about the collection of accessory gear now on digital cinema cameras, so frustration may actually be less with the mixer than at the operator's unhappiness at carrying more boxes. There is also a good time and a bad time to check code in the camera, like not right before a take - seems obvious, but it's happened. The few audio guys I haven't clicked with seemed in a world of their own, not hooked into what's happening on set. This is where the prima donna stereotype comes from. Luckily most guys (and ladies) are great.
  9. rodpaul

    DUGAN for the 633!! Firmware update 4.50!!

    Thanks, guys, very helpful. Not sure about the implanted mics, sometimes I think people i see speaking on television lately have something more sinister implanted. But as long as there are lavs to be placed outside the body there will be a sound dept. Always in awe of the ingenuity I see to make them work, and despite my old school preference for the shotgun sound, I find my engineer in final mix often liking the lavs better.
  10. rodpaul

    What is the sound mixers responsibilities?

    I've bought a TIG which I've velcroed myself on the top plate of my F55 and try to persuade audio to use it. There isn't much available real estate on many cameras, especially Canons, and the if the op is moving hand held the box needs to be secure. The new smaller TC units make life a lot easier. I'm a big fan of TIG. I wish I had a good answer, but every camera is different, and as camera accessories are added as needed, the box can often get in the way of something else. More argument for good communication with the AC or camera op.
  11. rodpaul

    DUGAN for the 633!! Firmware update 4.50!!

    Can someone point out the advantages/differences between Sound Devices' Automix and the Dugan product? From my standpoint the auto mix might be a real timesaver for rough edit if sent to the camera giving a much better mix than just a scratch track. I can't see any impact on crew size or ability.
  12. rodpaul

    What is the sound mixers responsibilities?

    From a DP/camera owner - one gripe is I've had is having guys stick velcro on my camera for the lock it box - piece of advice - ask first about whether and where. Not everyone is thrilled to have industrial velcro stuck somewhere without knowing first.
  13. I've found that the PAG batteries, which have a UN "safe" sticker affixed to them, cause less problems. This saved me in Nairobi. Also the concept of having a battery attached, thereby allowing it to be checked is not ironclad, with a camera, for instance, in which the battery is clearly not integrated. This has resulted in some heated discussions. My advice is to allow plenty of time at airport, especially in Africa, where they are especially touchy. You may end up in a negotiation and discussion of manufacturing standards. Non of this would be an issue if cheap LI units weren't around and often packaged poorly - the UPS crash at Birmingham, AL blamed on a pallet of Chinese batteries, for computers, I believe. All of this as if air travel wasn't unpleasant enough already for those of us who can't go anywhere without mountains of cases. FYI, Pelican has a new line of Pelican "light" cases which are significantly lighter. The largest conforms exactly to the largest size allowed by most airlines. I have two that survived several rough international journeys - they're expensive, but cheaper than additional cases.
  14. rodpaul

    Neurotic naysayer primadonna soundies

    Yes, never stop a take - aside from ADR or other options, talent is often fragile and and having someone they may not have even seen disrupt a scene can be jarring. Give the DP or director some credit - just as with a blown line, I usually notice a plane flying over, but in the interests of performance I'll wait until the next take to deal with it. You sound guys ruin us by being so good most of the time, despite often being left out of prep. While I try to find out what will work for sound, I confess I spend a lot more time with lighting and talent. I do believe there is renewed appreciation for good audio lately. As picture technology has improved, sound is noticed a lot more, and both at home and in theaters, reproduction is a lot better, and when audio isn't up to the picture, it's noticed. Most of the time the audio is consistently one of the most professional departments; it's just that the less professional tend to get noticed more than others.
  15. rodpaul

    Mounting a Zaxcom RX on an Arri Amira

    An an orthopedic surgeon. Love to know the weight of that rig.