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thenannymoh

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About thenannymoh

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    Hero Member

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  • Location
    Canada
  • Interested in Sound for Picture
    Yes
  • About
    audio tech, editor

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  1. thenannymoh

    Remote Audio Rainman and... your cat?

    Ok this one is bizarre... Are there any other cat owners who own a Rainman blimp cover? My cat has been obsessed with licking it, and it is the only material he does that with (I think there may be a charcoal/carbon component to it). I know cats are inherently weird, but he has some other medical issues and I'm trying to figure out if this is inherently problematic or symptomatic. Anyone else seen this, or moonlight as a vet 😊? Thanks!
  2. thenannymoh

    Lectro SMV "L"

    thank you!
  3. thenannymoh

    Lectro SMV "L"

    I must be missing the obvious - I'm looking at the SMV "L" transmitter, and for the life of me I can't find in any of the manuals what the L represents, or how it differs from a non-L. Any insights? Thanks!
  4. thenannymoh

    Why I'm sick (Literally)

    If I notice the camerawork, it means I've left the story. Too many DPs padding their demo reel, and not doing what's right for the script, like Yngwie Malmsteen soloing in Yellow Brick Road.
  5. thenannymoh

    Windscreen Rycote or BUBBLEBEE Industries

    I have both...since getting the Bubblebee, the classic softie is only used as backup. The Windkiller, for me, wins hands down.
  6. thenannymoh

    Sound on A Star Is Born

    Just saw A Star Is Born (Cooper/Gaga)... Just want to say that if Steven Morrow, the credited mixer, is on these boards, you did an amazing job mate. One of the best dialogue jobs I've heard in a long time, and in what seemed like some very challenging environments.
  7. thenannymoh

    Tentacle Sync Workflow

    Maybe you have alot of extra time to hand-hold a rookie editor through the basics of their job? And if the editor doesn't understand how to work with timecode, I'm doing the client a big, big favour by insisting on your "old fashioned" solution of a slate, or at least a camera hop for a nice audio line for pluraleyes That's not arrogance, just experience.
  8. thenannymoh

    Tentacle Sync Workflow

    Most of the time, this can be resolved by giving a client the 3 very clear choices at the outset: use a camera that properly accepts timecode; pay for the software to decode if the camera doesn't have timecode; or don't use timecode. Once you've presented those choices, frankly your work is done, and it is their editor's job to figure it out and do some research.
  9. thenannymoh

    IFB question for the masses

    Comteks lack of shielding, plus the need for a looong antenna (such as the cable for earbuds) make it impractical for on-camera use even as a scratch... Just too many hits. Alot of us run 2 TXs out of a bag...it makes a difference which talent RXs are in the bag too. If they are Lectro RXs, I've never run into a problem with TX/RX close to each other, and no problem with a Comtek BST in there either. I use a G3 transmitter for hops, and assuming the freq are not stepping on each other, they all play nicely. Very occasionally, I get a request for super-clean audio feed to a director (ie better than comtek), so giving them a g3 rx on the same feed as the camera hop does the trick (with a tiny $40 headphone amp from Amazon attached). The camera guy's SRa solution seems like a good one to me.
  10. thenannymoh

    What is your spare recorder

    I approached it this way: - not economical for me to have an exact duplicate of my main recorder - what's more important in a backup, number of channels or quality of sound? For me it is sound quality - I need to continue the work flow with my backup (ie timecode, provide feed for comtek, camera hops) - I need it to be small and easily portable. When you lay out your needs, then it will help you decide which is the right backup for you.
  11. Hello! I'm curious as to how everyone else in Canada is categorizing some of their expenses in their tax forms. Some things are obvious (expensive gear for instance), but some of the smaller stuff seems less obvious. For instance, do you claim the following items as A) Class 12 CCA asset? B ) Office expense? C) Office stationary and supplies? - cables - batteries - straps and pouches - lav mics under $500 - SD cards - items that can only be used attached to Class 8 assets, such as a wingman dongle or an antenna, and purchased with a Class 8 asset (but has a separate line on an invoice) I realize your bookkeeper may be making these calls, but I suspect there may be inconsistency in how it is applied. Thoughts? Thanks!
  12. Hello - a while back, I remember reading a thread where someone showed pictures of colour-braided custom low-profile XLR cables, that were made and sold to peeps here. But for the life of me, I can't find the guy through searches. Any names or leads? Thanks!
  13. thenannymoh

    Camera Hops

    @JonG I can see what you're saying...but the noise floor of the G3 is higher than I can hear coming into my ears from my mics and Lectros on my recorder, and the thought of anything less than that hitting the editing room would drive me a little nuts. Plus, most cameras have terrible preamps and audio hardware. However, I'm often bag-and-booming, so a precise mix takes a back seat to raw quality of iso tracks...so that's probably my bias.
  14. thenannymoh

    Camera Hops

    G3s for the hops...good enough for reference audio, and every camera guy has seen it before so they don't have an aneurysm when you approach the camera with it. As Philip Perkins said, with Eneloops, I can leave it on the camera all day and never power it down. BUT I would never use the G3s as hops if the client absolutely insisted on using the camera feed as the main audio.
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