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Joe Dunlap

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About Joe Dunlap

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  • Location
    Cincinnati
  • Interested in Sound for Picture
    Yes
  • About
    Post and Field Audio Engineer from Cincinnati, OH.

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  1. Joe Dunlap

    Favorite Mic to use for Interior Situations?

    You might be able to find a used Neumann km184 or 185 in that price range. The Rode NT5 would be a good budget mic that’s nice to have around for other things even if you do expand and grow into getting some schoeps stuff in the future. I grabbed a cheap pair of senal small diaphragm condensers which I keep in the car on jobs in case I need a couple extra mics or if for some reason everything else died. They’ve worked pretty well for situations where the editor wants me to mic up the interviewer for help with transcription or if I need to set up some cheap room mics as crowd mics for a conference.
  2. My instinct is that it’s a bad idea to use active noise canceling headphones for monitoring on set but there have been times where it may have worked pretty well. Just curious if anyone else has done this. I like the idea of only hearing what the microphone is capturing and not hearing room tone bleed from around the headphones. My normal set set is the HD25 but just got a set of the PXC550 for traveling.
  3. Joe Dunlap

    AudioRoot Power solutions review

    I finally figured out that it is the charger that isn’t working. So I have a new remote audio battery and a remote audio charger on the way. .
  4. Joe Dunlap

    AudioRoot Power solutions review

    I’ve got an audioroot battery system that has been great but I’ve been having a few issues. About a month after I bought it, I put it on charge the night before a shoot and went to bed. Woke up the next morning and it hadn’t charged. Found out there was a short in the iec type of cable so I replaced it, that fixed the problem for awhile. Now it’s been happening again where the battery will not charge but it doesn’t seem to be a bad connection because the light is responding to whether or not the battery is plugged into the charger, but it’s stuck on one bar. Im trying to decide if I should stick with audioroot or switch over to remote audio.
  5. Joe Dunlap

    Red Gemini erx tc issues

    On set with 2 zaxcom erxs and 2 matching brand new red gemeni cameras. Couldnt get timecode to sync. Ran through a whole gamut of potential issues but then finally after I cranked up the tc output voltage to 2 volts they both latched on. Does that output voltage seem high compared to normal? I know they had issues in the past with the epic.
  6. Thanks guys, that helps a ton. I should have guessed that there’s someone in charge of rf coordination. Usually I’m just on little commercial shoots so I’ve never had to coordinate with other crews on rf. I talked a little more with the dp and it looks like they’re just planning on using boom only for that day because it’s mostly just for b roll anyway. That’s really good to know though. Thanks for the advice. 👍🏼 Appreciate you guys chiming in.
  7. I know this issue has probably been discussed a lot but I just finished a shoot with the NFL Network and the DP was using a red scarlet. We were in an empty stadium on a hot day so they couldn’t turn the fan down, but it was legitimately louder than the street noise from where I was at. Plus we set up next to the wall along the field so there was some odd reflection and comb filtering happening. I was able to tilt my 416 in a place where it cut down on a lot of it but still not ideal. Anyway, we’re going back to the stadium on game day and probably at least going to have one lav out. With all of the different production and wireless units at an nfl game in the city, are there any protocols of coordinating wireless frequencies among the other productions present or is it just scan and grab whatever freq i can?
  8. Joe Dunlap

    Boom rigged to fisher dolly

    I do use those when I’m using a nomad but the transmitter in my Maxx doesn’t communicate with the ERX receivers so that is a real bummer. I love the rx200 but I do understand why DPs think it’s a little bulky for any sort of moving shot on a ronin or easy rig. At one of these events I snuck a schoeps mk41 on the gooseneck of a podium right under their podium mic, put the maxx under the podium and sent it over the rx200 to the Nomad in the back of the room grabbing a board feed and several Lavs. So it’s been very versatile and functional for me.
  9. Joe Dunlap

    Boom rigged to fisher dolly

    That’s a really good thought llari. That’s funny because I’m actually on a shoot today at a hospital training facility. It’s nice to not have to worry about being in the way of patients and also overall less noise than most hospitals. Still no luck on getting them to turn off the hvac though.
  10. Joe Dunlap

    Boom rigged to fisher dolly

    I was talking about the 335 that they’ve talked about releasing but haven’t yet.
  11. Joe Dunlap

    Boom rigged to fisher dolly

    Thanks John, I forgot about that option. They seem to have thought of everything. I’m interested to see when the start releasing the rest of the qrx 300 series stuff.
  12. Joe Dunlap

    Boom rigged to fisher dolly

    Hey Kat, Thanks for messaging. Here in Cincinnati, OH I have never run into any issue when I use my friends Zaxcom Wireless Lav system but there have been 2 times in the past 50+ shoots where my Sony UWP-D11 Lavs were acting very strange. On that same shoot the Zaxcom worked instantly. No matter how many times I scanned for channels on the Sonys the signal would sound like there was an aggressive noise gate on. Very strange and frustrating. I probably should look into it a little more but I've never been told that I shouldn't use wireless in the hospitals. For most of these shoots I'm always sending wireless audio and timecode from my Maxx to RX200 on camera, and that's never once dropped out on me since I've had my Maxx repaired. I guess if I was dealing with producers who were hesitant about using wireless I'd contact the hospital and check in to see if they have a tech person that you could talk to about that. Depending on your budget for the shoot Zaxcoms ZFR 400 https://zaxcom.com/products/zfr400/ might be a good solution if they tell you not to use wireless systems. Or for a lot less money about $200 Zoom makes the F1 that I've thought about grabbing one or two of just to keep in my bag as an absolute last resort. They are just miniature field recorders that you place on your talent. It's not ideal to not be able to monitor what you're recording but if you're kind of planning on that being a backup to the boom then it might be useful. I wish I had more specific tips for you.
  13. Joe Dunlap

    Boom rigged to fisher dolly

    Thanks for the tip Mike! I’ll try using lavs in addition to the boom next time so I can compare. This hallway happened to be carpeted so even though it still sounded like a hallway, it wasn’t super reflective like most hospital hallways. (It was an administrative building). I do a lot of commercial work in hospitals and the hvac noise is always there. There’s not really an option to turn it off. Sometimes it’s tough to tell which is worse, a directional mic overhead closer to the vents but pointing away from the vent or an Omni lav closer to their mouth but picking up everything.
  14. Joe Dunlap

    Boom rigged to fisher dolly

    Thanks Phillip, I'll definitely look more into the moze box. That is true about on set playback. This DP has a paralinx that sends video along with audio wirelessly to video village and the client actually commented on how it was nice to be able to listen to the scratch audio on playback. Thanks for chiming in Constantin. I wish Zaxcom had a camera hop the size of their little transmitters that I could sneak on. I just did a day on a short film with an Alexa SXT but we didn't have any of the cabling to get BNC or 4 pin lemo to 5 pin lemo in for TC or 5 pin XLR in for scratch audio. That is going to be a pain to sync up.
  15. Joe Dunlap

    Boom rigged to fisher dolly

    Hey everyone, Today I was doing a walk and talk down a narrow hallway where it would have been really tough to get a good consistent placement with the boom so we rigged it up to the dolly and it seemed to work pretty well. The talent was speaking direct to camera so his distance from the camera didn’t change much. (I know the schoeps cmc641 would have been a better choice than the 416 but it was a last minute shoot so I didn’t have access to it so quickly) We also wanted consistent light on him so we rigged up a 4x frame and a rolly stand to the dolly as well. Just curious if this is typical of walk and talks if you have a dolly available. Also, does anyone else get complaints about the size and weight of the RX200? I love the box and it’s saved me several times but I’ve been told by several DPs they’d rather just have a tentacle sync box and not worry about scratch audio.😕👎🏼.
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