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Tom Visser

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About Tom Visser

  • Birthday 07/05/1972

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  • Location
    Waimea (Kamuela) & Honolulu, HI
  • About
    IATSE 665 & 695 Y-1
  • Interested in Sound for Picture

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  • Skype

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  1. I think the technology did not deliver yet. It was so distracting for me that I could not get into the performances of any of the actors where it was applied. The opening shot was of such poor quality, it may have perhaps set the tone for me for the rest of the film. It looked like some cheap prosumer electronic gimbal was used or something. (I later learned of the 3-camera challenge they had). I had to stop watching a little bit before midpoint.
  2. sounds problematic - what seems like it might work in theory will likely haver a lot of issues in the real world. do you ever work with a boom op? having a boom ISO might seem like a good idea, but when using IFB for operators, in addition to hearing their boom it is also important for PL private line and him switching back and forth from boom to wires will mean that he will be off coms for some amount of time. I don't boom a lot, but personally I'd rather hear the mix, so that I know how to better handle hand offs from wires to boom or vice versa. I personally would set up both transmitters to the split mix output, so you can dynamically adjust the Tx feeds on the fly, but not sure how easy or possible that is on the Zoom. FWIW, you IFB system would now be more expensive than your mixer / recorder - maybe time to step up to a more capable mixer... just a thought.
  3. Such sad news, thank you for your team's contribution to the arts and movie making business. I didn't know Don personally but have much admiration for his life's work and what I know of him as a quality person.
  4. for me I use a 2:1 ratio with fast speed and attack, threshold of -9 and 3dB knee. With such a low ratio, it provides a very transparent vocal leveling when levels get hot. Is it better to not use compression for location mixing? perhaps yes, but this theoretical question is sort of unrelated to the reality of the fact that whenever your levels do get within 10dB of clipping (and use "gain in hand" to increase gain on the mix buss), would you rather have a signal very close to clipping or a signal that is gently rounded off? The answer to the theory is of course, it is better to not use compression in production mixing, BUT... a bit of transparent compression is better than clipping the mix buss.
  5. as someone who has been close by and at the front end of an M2 barrel, pretty sure your system wasn't louder than the real thing. I actually am all for loud guns, sort of annoys me when gunfire levels is just hanging out, sounding cool, letting dialogue go by intelligibly. Maybe we should have less guns in movies, but when we do, all for them being loud as F.
  6. That’s the NATO rotary wing plug. There’s really no predictable standard though without verbal confirmation form someone first though. If a tour company, often times they are custom built after factory delivery. I’ve had the NATO plug short out and attenuate the pilot’s feed on an Army UH-60, which obviously was an issue. There’s also the possibility of “general aviation” plugs - looks like a pair of phono jacks but not 1/4”. Some newer frames use the airbus connector which is just an XLR5. Sometimes you get plain Jane 1/4” connectors. In other words, bring an extra lavaliers to tape into the inside of either your or and extra set of aviation headset as a last resort.
  7. For podcast work, it seems to me that the Rodecaster is an incredible value and purpose built to make a podcaster’s life easy.
  8. go with the 8060, you'll love it. lots of good mics, true, but 8060 sound great, as good as anything else out there, probably has the lowest noise floor of its competitors (could be wrong, but not aware of anything quieter), has a very sensitive output, so not too dependent on lots of preamp gain, which can be an additional source of noise, and is an RF condenser design, so good for humid applications.
  9. I don't think the Tascam will synch word clock from HDMI embedded timecode. I'm pretty sure it is just a timestamp like most other devices that read LTC without having Genlock capabilities. Also do cameras have genlock, or using cameras that have the unique ability to regen synch from the timecode source? (Arri for example). If not, then you basically have all devices free-running / drifting during takes and only the beginning of takes guaranteed to be timestamped accurately. I'm pretty sure that there is some combination of boxes that would work to get LTC from embedded HDMI. Probably looking at something that converts to HDMI to SDI and then some sort of LTC de-embedder from there. Wouldn't be cheap though, would be cheaper to buy or rent a different recorder quite frankly.
  10. Using wireless designer, can this unit also coordinate M2R channels? If so, would one do that from the built in scan or sync import scan from M2R? addressing the AES question again, for those that would need AES, I think that also means for the majority, that they wouldn't need Dante, so an AES module that entirely replaces the 2x RJ45 jacks for Dante would suffice for me. In order to use AES for cast channels though, I would either need to be able to remote control the transmitter in order to properly modulate the signal (like the two existing digital wireless companies, one from NJ and the other from Japan) or allow digital gain to be added in the box.
  11. digital mixer as in going digital input via Dante and analog mixer to analog XLR inputs? if so, might be hearing SRC working in the Dante DSP chip, which may be more limited and rudimentary than SRC done by more sophisticated processors. Try switching the digital sample rate if possible.
  12. I'm on FCPX, but I'm not am editor and just edit my own little projects. Once I started working on 4K and adding noise reduction, my maxed out retina 15" MBP just took a shit and became super slow to render. I think that I must invest in one of the eGPU options out there if I keep on working on similar projects. Blackmagic makes a fanless /noiseless unit with the Vega 54 GPU, which should help immensely with render times for minis and MBPs. By the way Philip, was discovering a little bit more about Chris Marker and discovered you were on post for one of the docs on him, was it a good doc and worth checking out?
  13. DWT transmitters are fully digital and are only compatible with the DWX receivers, which come in Sony slot format (have adapters available with battery shoe, headphone outputs, output connectors, AES...) or the rack units. Sound quality is very good and one of the few systems that offer full remote control over a secondary RF network.
  14. your experience parallels a lot of my own, learning from a lot of mistakes. this place is exactly for people like you, tapping into the knowledge of others to help steer you right, I know I've benefited much more from Jeff's gift than I've given. COS-11D are great. I'm also a big fan of Countryman B3... I feel like they are more rugged, or maybe I just am more apt to mistreat them and put them in harms way since they are a lot cheaper... from water, to rodeos, to dirt. Maybe B3s aren't quite as sweet as the COS-11D in general, but lavaliers really can't be rated on a scale of best. each mic has an application and sometimes I've gotten best results from an ancient beat up ECM-50 vs a pristine DPA.
  15. For your bag now, not going to diss the 6060 (one of my next purchases) or Schoeps, but there some valid reasons to go 416 or 416 + 50 and for mics, good to upgrade from stock, but COS-11 have some advantages in the trenches and are cheaper to boot. Some day when you graduate to higher end jobs and at least move past Sennheiser G, then consider the more top notch gear, but now balance will be perfectly served by more "standard" fare.
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