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Tom Visser

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About Tom Visser

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  • 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. For podcast work, it seems to me that the Rodecaster is an incredible value and purpose built to make a podcaster’s life easy.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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?
  7. 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.
  8. 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.
  9. 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.
  10. I've never noticed this phenomenon nor had post ever bring up the subject to me, although I suspect it could have simply been missed, as most of my recordings with my VI were classical music or simple dialogue, where a minor slip could sneak by. I've always used pre-record on my VI, do you think that this could affect the file record start issue? So if pre-record were enabled that it would round to a nearest whole unit of time in the pre-record buffer? I've since replaced my VI with an X2, so it has sat unused for many years now (for sale if anyone interested), but I do miss the very flexible monitoring capabilities of the VI.
  11. WC not necessary, really anything, DB-9, BNC, TA3, TA5, existing XLR output switchable analog / digital, not a dealbreaker or anything, but digital outputs would be sweeter deal
  12. I love the digital hybrid backwards compatibility. Although a little heavy for 4 channels, once you take into account antenna and power distro, this is actually a very "baggable" solution too, not only cart use. Very interested!
  13. If anyone has a line of communication with Cinela, what might be smart is to sell this with a cable that is the special sennheiser 19mm thread on connector on both the mic side and exit side, that way a filter module and / or XLR module could be used outside of the rig.
  14. Shooting requires careful study and constant purposeful adjustments. The composition, sensitivities, iris, focus, and an open eye to what is happening outside of the frame. In fact, I’d say without working with a producer or director, you will often loose content because you are too “into the eyepiece” to see the big picture - or as a sound crew, I can often direct camera to shift attention to something or to get ready for something to happen. Recording sound also requires great attention and if not an understanding of acoustics, at least the practical experience of what will cause issues and field expedient solutions. You can certainly do both jobs well in easy environments, but as you face challenges your chances of doing both jobs competently dwindles very quickly and given that the quality for documentary footage (the image) has been raised and keeps going up, even your success as a single cameraman alone faces challenges. I’m getting off of a doc where they are using Optimos, fair amount of lighting, lots of negative fill, and really pushing the “cinema” aesthetic. My bit of advice, when you have a choice, choose quiet outdoor locations. If you are going to shoot inside, shoot in quiet good sounding (not reverberant) spaces. Your NTG3 will do just fine. If you can’t do this, then you need to hire a sound mixer or figure out how to deploy wireless mics really well. If you can’t do that, then put on a wide lens and put the camera in the face of the mouth movers and pray signal to noise ratio is adequate. Refusing to do all of this is knowingly missing the most important aspect of verbal storytelling, which is the story itself. If you instead just focusing on the supporting image it does not make you a documentarian, but a foolish guy with a camera. Be a master of the craft and work without compromise. I understand the solo artist thing - no criticism at all, but if you can’t succeed now with what you got, then focus perhaps on the non-verbal aspect of storytelling or shoot a sizzle to go sell the project to investors and get the resources you need to do it better.
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