Jim Rillie

Yes, David As the Senator says "change is coming" I find that the DVD RAM process for rushes is disappearing slowly. My last two projects one on 35mm, one on Red I have been cycling HDs to post. Editing is moving closer to the shoot with modern workflows. Now I just double record and pass off the removable FW disc to post end of day, or if breakoff happens during day, I will go with CF. The whole workflow system is in flux, and new more comfortable delivery formats are moving in. Just thinking now, would idle copy to an HD use less Cantar power than double recording... Regards, Jim Rillie

Quoting Marc Weilage "Oh, and it's always great when the slate says one thing, the camera report says another, and the sound report says something different. If we have the script sup's notes in post, then we use whatever they say as a tie-breaker. But you'd be amazed how often those notes are not sent to post for dailies." Here is a nice note I got from the assistant editor today:"Also, I just wanted to say that your meticulous recording of sceneand logging info has helped me get my work done everyday - the camerareports and slates are rarely on so having your info has been the onlyway of tracking info some times. I just arrange my footage based ontime code and follow your metadata. Keep up the great work - someone notices! Thanks again for sharing info, Caley" I wonder if Caley gets the scripty's notes... Regards, jim Rillie first time working with the Red, and workflow is OK. Feeding TC with a syncbox, assistant editor says so far TC is dead on (also using one of the TS3 slates) with my audio TC. Jam 2x per day.

"What about “the conversation” that's a nagra in there and a sela mixer..." The box on top of the Sela mixer is a Nagra SLO synchroniser. Don't know what the tapedeck make is. Used to love watching the display on the SLO when transferring to Mag. Jim Rillie

Hi Ron, Cantar user checking in here. I use ch 7 for boom, ch 8 for mix of ISO channels 1-6. Poly rotate sends the boom to 1, the mix to 2 so I guess ch 1 for boom indirectly when I send a DVD for dailies. Priority... but these days... Regards, Jim Rillie

Ringing in late here, But, as a Cantar user, (HD25II phones) unless I am looking for the source of some bad stuff in the BG, I normally monitor at -30 in the phones scale. On a very loud SFX setup, I may go up to -20 to -24 just to hear over the din. My recorded peaks bounce from -30 to -10,rarely up to 0 unless something is really dynamic. To my ears this headphone level closely resembles what I hear in normal conversation. Vin, your monitoring levels sound damaging to me IMHO. Please be careful with what is our most important tool as mixers - your ears. At -6 to -10 on the Cantar headphones scale I would be blasted out of my chair with -12 recorded peaks, (if I'm not standing up to mix), which i find myself doing more these days. Just my 2 cents. p.s. When riding my motorcycle,(always helmeted in my part of the world) I just don't go out without -33dB earplugs in. Jim Rillie

Hi Graham I bought a couple of these from Audio Services Corp in Toronto. seems like some typical aluminum alloy. Regards, Jim Rillie

Jim Rillie Halifax, Nova Scotia Canada (902)471-9840

No Panamic either. Lots of us use Panamics. Regards, Jim Rillie

Hi group Has anyone been using Write UDF with the Macbook, and what is this program able to do for us? I use the Macbook to print out sound reports when turning a DVD RAM disc in for dailies, and the Macbook sometimes takes a few inserts of the disc before it will recognize it.Just wondering of this program would help, and does it also make the drive able to write to DVD RAM? Regards, Jim Rillie

The title of this thread says it all, IMO. "clicking and getting faster". The "getting faster" part has happened to me with Schoeps CMC series many times in the past. My version of the classic Schoeps humidity problem is - starting with slow clicks or puts, which over time ramp up in frequency to awhine. At this point I'm whining too. Lotsa folks mentioned the dry tubes. Should work fine. I use a Lexan waterproof box with all the Schoeps components inside (from outdoor suppliers), as well as a gel pack from Lee Valley (encased in an aluminum box, and rechargeable) I also clean the contacts of the variouscomponents with fine toothpicks and methyl hydrate. By doing these preventative things, I have left the humidity problem behind for the most part. Regards, Jim Rillie

Vin, I can't really answer this, because my digital recorder does not currently have delay available AFAIK Jim Rillie

I dunno about the Cs3, but I do have an 816T available with Rycote and windjammer. I just don't need the reach. I bought it new maybe in 1989 or so. Nothing like it out there AFAIK. negotiable price, and in pristine condition. Original box and documentation included. S/N available on request. Jim Rillie

Hi, Chris mentioned the out of phase issue. I think that's why using pin 2 and pin 3 for the tip and ring works for me. It's sort of a "balanced" (note the quotes) arrangement. Also, the idea of using a dedicated TX/RX just adds one more powering, space, etc etc issue for a reference audio feed. The real sound to be used in audio post production is what we record on our dedicated, high quality audio recorders. Jim Rillie

Larry, AFAIK, a 3.5 mm connector is also referred to as a 1/8" connector here in North America. Also, I have generally had a lot of noise in the feed if connecting Pin 1 and 3 on the XLR. I am speaking of the PR216 headphone receiver without the Option7 BNC antenna, and yes, 18" or so of cable helps. Jim Rillie

I'm sure this has been addressed before, but here it is again. The 216 receiver output 1/8 stereo jack can and should be treated like a balanced output. I have had success with wiring the tip to pin 2 of the XLR3, ring to pin 3, and sleeve to pin 1 - nothing is jumped, and I should look, i may have not even connected pin 1. (Out of town, and can't check the gear) so maybe someone else will chime in on this. I often do not connect the ground to pin 1XLR when going to balanced I/P. BTW, the reference mix to camera should not be stressed over. Post never even looks at it. I must add that I do use the reference mix when working with HD, just to placate producer types, I think. Maybe I shouldn't be so brash, but there it is. My 2 cents Regards, Jim Rillie

The Cantar has a 3/8 threaded "nut" built in the bottom of the recorder for that purpose. Jim Rillie

Scott, Is that the genny op in the BG of that picture on the front porch? I work often with a guy who could be a ringer. Nice cart BTW. Jim Rillie

I don't second Glen's preload idea, since every time I've tried it, (rarely), the battery tube starts to stretch and break on the ends, if left for more than a day or two. I am using some "improved" holders from Denecke from a couple of years ago, (a bit better than the originals)... maybe there has been some improvement lately? If so I would love to have a tube waiting and loaded. This is with the battery case for the TS-3 which I assume to be the same as the TS-C tube. Please ignore this post if it's a different animal. My solution is to watch the startup voltage like a hawk, and load when getting the slightest bit close to "LoBatt" Jim Rillie

I would like to hijack the discussion called "The ladies always fall for me" in Images of Interest which has devolved to a discussion on transmitters. Check out the Canatrans. In my experience this is the best I've seen especially when the camera is on the move. Let's expand this discussion to improving receivers, and what is now available in 12v powered receivers esp diversity. Jim Rillie

Can I change my vote after getting used to the format? Now I support the new form. Would like to break the tie! And get on with life. Jim Rillie

Jeff, NOT OT. I think this is exactly what this thread is about. Michael got to the real meat of the topic - Is it from the mic or from the wind on phones? Jim Rillie

I also used 7506 for years, and for the past two years or so have been using the HD-25 Sennheisers which have much more attenuation of outside noises (mid range anyways)-I would say in my imaginary guessing real-world terms they are 10dB more isolating than 7506's... I think what Mike was referring to is the sound of the wind blowing on the housing of the phones, which I have found still exists, regardless of the vastly increased attenuation of outside noises, due to better isolated phones. That's why I am suggesting coverage rather than buying new phones, although I do love the HD-25's. Jim Rillie

Yeah, The Sanken in the tie knot is the one that breaks my rule, but so often used by all of us. And if the mic is pointed down usually no EQ felt to be needed. Jim

Hi Jeff, Not strictly a "Feature" mixer, but mostly dramatic content. I'm a production sound mixer who does MOW's, and independent features for theatrical release, commercials, and a bit of video "documentary". My use of RF body mics has always been for a shot where the boom just can't get or may not get the required appropriate level and perspective. I have my crew or myself mount body mics to give us the most complimentary image of the speaker's voice as possible, which under most circumstances eliminates the "on the neck" idea. When I hear it, it always drives me up the wall - the "throaty" dull chin shadowed sound. Of course, it is usually heard in the type of situation you mentioned- too much BG to go any other way. In drama production the priorities are different, so we go for making it sound as good as it can under the circumstances. the further from the mouth , the less differences we hear from (mild) head turns, etc. Also I have found that at around the sternum usually is about the best location for bass response with male performers. The other benefit is that when the wireless ISO and boom ISO are later blended with the correct phase adjustment (easy in Pro Tools) they may well compliment each other and help keep the perspective with the dialogue still being nicely there without being in your face. We also can do this phase correction by finding the right boom position in relation to the body mic. So, I guess it comes down to, is what you need to get out of the body mic. The uglier the acoustic BG, the more compromises to aesthetics. Jim Rillie

Hi Mike, I have been battling this phenomenon all my working history, no matter what brand of phones used. I live and work in windy locations often. The only real defence I have found is to have a jacket with a hood of some sort attached when the wind comes up. Not so handy when it's hot out, but OK spring, fall winter. Maybe a light hoody in the summer. Jim Rillie