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Rob Beal

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About Rob Beal

  • Rank
    Hero Member
  • Birthday 10/07/1979

Profile Information

  • Location
    Toronto, Canada
  • About
    Location sound mixer in Toronto, Canada.
  • Interested in Sound for Picture
    Yes

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  1. Yeah I hate the fact that the monitor will cost more than the computer, but at least I’ll be selling my current rack mount monitors so I’ll recoup some of the cost. That’s also why I want it to do double-duty.
  2. I'm in the middle of redesigning my cart around a Mac Mini as well. My current plan is to replace my 7" dual monitors with one of these 1RU pullout 17" monitors: https://www.bhphotovideo.com/c/product/1302336-REG/lilliput_rm_1730_s_17_3_full_hd_pull_out.html I plan on using the HDMI input with the Mac Mini and using the SDI input for video (using a Decimator on the source end to combine video streams to a single SDI), and just switching back and forth with the front buttons as needed. Then in addition to that, I already use an iPad on my cart for Scriptation, so I'm going to use the Duet app to extend my Mac Mini's desktop to the iPad as well: https://www.duetdisplay.com/ My hope is that I'll be satisfied with those two screens doing double duty, since I don't really NEED to be looking at my Mac's screen while shooting, it's more for setting up Dante, Wireless Designer, emailing sound reports etc. I suppose there will be a time when I'll want to simultaneously see the script, the video feed, and Wireless Designer during a shot if I'm troubleshooting RF problems, but I'll wait and see how important that is before committing to a third monitor. I like the idea of using my existing screens.
  3. Rob Beal

    bag drop

    Brilliant. Looks like a great option.
  4. Rob Beal

    bag drop

    Good point, I already have an old Decimator Quad box kicking around, so i could easily stick that at video village. A bigger challenge with that would be fitting a larger monitor in my current cart setup (right now I use a triple 5" monitor device that takes up 2 rack spaces). But that might be an easier fix since I'm already pulling wireless racks out of my cart to remote onto set, so cart space will be freed up. Good thing we still have plenty of hiatus time to figure out how to retool our carts!
  5. Rob Beal

    bag drop

    Very promising!
  6. Rob Beal

    bag drop

    Interesting, I haven't seen this technology used on sets before. So if you already have your RF receivers in a box on set, I wonder if you could just add a couple SDI to NDI video converters to the rack, plug them into your network switch and send the video signal down the same CAT5 cable as your Dante, and convert back to SDI at your cart end. Looks like a whole new avenue to start researching.
  7. Rob Beal

    bag drop

    In this new world where more of us will likely be living off-set (or as far from the action as practical), using Dante to run a single CAT5 cable is great, but what about getting 2 or 3 channels of video to our cart? If we're 300' away at the end of a Dante run, a 300' foot triple-SDI video snake would be quite large and unwieldy. Is that just going to be the new norm for us? Getting a terradek receiver from the camera dept would still have the same issue as you'd need the receiver close to set and then cable out to your cart.
  8. I put all of those under a general "materials and supplies" expense, as per my accountant's instructions. They're all expendables that get used up as you run your business (even lavs... they break and need to be replaced fairly often). Only big-ticket gear purchases get classified as assets that need to be depreciated.
  9. This is something I've developed a keen interest in as well, and have teamed up with some great post-production colleagues up here in Toronto to establish effective workflows. Right now it's still a lot of experimentation, and as you noted there has not been a lot of (good) narrative work done. For that side of things, almost all of the magic is done in post from mono recordings and sound design. The only effective examples I've seen so far have been in the horror genre, since it lends itself well to immersing the viewer in a tense environment. Spatial audio becomes even more important than ever, to ensure that the viewer is looking in the right direction at the right time. It's actually pretty fun to play around with. The short piece "Help" by Justin Lin and Google Spotlight is a pretty cool example too of how live-action blockbusters could be done in VR. I can't imagine anyone would want to watch something more than 5 or 10 minutes long though, at least until the wearable tech vastly improves. Aside from narrative work, there's some fun to be had in recording "immersive experiences" for sports, music, or travel fans. Imagine being in the locker room before a big game. This adds a bit of interest for us to record too, since you can play with the mix between ambisonic recordings and spot (lav) recordings of key people like the coach addressing the players. Finding that sweet spot in the mix that puts the viewer in the middle of the excitement but also maintains clear, consistent dialogue is a tricky challenge, but a good one! Of course, that's all up to the post team, our job is still limited to recording the best sounds possible and delivering it to them. But more than ever before, communcation between the production sound mixer and post-production team is of paramount importance during pre-production, to agree on a workflow that works for each project.
  10. Wow, that's an unexpected surprise! Had a pleasure dealing with Tyler since the day he started, I always looked forward to chatting with him at the shop and he definitely provided great service on many occasions throughout the years. All the best Tyler!
  11. The Presonus works great with Boom Recorder, it's an extremely simple setup. In the bright sunlight though it was extremely hard to see which buttons on the board were lit up and which were dark. I wouldn't use it again for an outdoor show just for this reason alone. The sub-mixes are a bit counter-intuitive for reality setups too (or at least our setup). We were sending up to 4 different mono sub-mixes to 4 different cameras using a Lectro D4 transmitter, and the assignment buttons get a bit convoluted when you're in the thick of things and multiple mixes are changing on the fly. In the future, I think I'll switch to a Yamaha board for multi-cam reality stuff.
  12. Just got a bunch of work in Vegas, so I'll be in town this year! My first time attending, will definitely hit up the JWS dinner. Looking forward to it.
  13. In the Mayan highlands in Guatemala:
  14. Just got back from doing a reality show in the mountains of Guatemala. Spent two months watching sunsets like this from my "office"! City life seems so boring now -Rob
  15. I know you're joking with the Virgin Galactic quip, but even that rhetorical situation just further demonstrates the flaw in your line of thinking. If someone wanted sound recorded on a multi-million dollar space flight, they should be paying full rate or MORE to get a professional who will do a great job in a stressful environment without worrying about how "cool" the experience is. What if they hired an overeager rookie who botched the sound? Same goes for trekking through mountain ranges. We are supposed to be professionals and these "life experience" jobs often put us in more challenging conditions than normal. To do it for $150 completely devalues everything we work for in our careers. It's not a vacation, it's a job, and it's pretty troublesome that so many people apparently don't even think twice about compromising the true value of their career. Maybe that's a bit harsh, but a couple people offered excellent advice here. If you want to see any of these "life experience" places, make some money and go there yourself! Maybe someday producers won't expect to hire a sound op for $150 then! (wishful thinking, I know). -Rob Beal
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