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PCMsoundie

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About PCMsoundie

  • Birthday 01/01/1

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    New York, NY
  • About
    website: https://www.imdb.com/name/nm0586599/
  • Interested in Sound for Picture
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  1. Will this change how IATSE feature film and Episodics handle IFBs on the set? No. Indie films, documentaries, corporate & smaller productions? Yes. Just announced by Bluetooth spec group's multi-stream audio called Auracast™ broadcast audio enables an audio transmitter, such as a smartphone, laptop, television, or public address system to broadcast audio to an unlimited number of nearby Bluetooth audio receivers, including speakers, earbuds, or hearing devices/next-generation assistive listening system (ALS) technology. Auracast will allow a single audio transmitting device to broadcast to an unlimited number of nearby receiving devices. share audio with other listeners and even receive broadcast transmissions in airports, museums, auditoriums, and more. Hearing Loss Association of America have already said that they are going to support the new standard. [Hearing aid industry as Bluetooth Auracast transmitter vendors] https://www.bluetooth.com/blog/just-announced-auracast-broadcast-audio-a-new-feature-of-le-audio/ Augmented/Assistive Listening Auracast broadcast audio will function as a high quality, low-cost, next-generation assistive listening system (ALS) https://www.bluetooth.com/auracast/assistive-listening/ specs: Your Bluetooth 5.2 device is about to be able to listen in to Auracast broadcasts, Bluetooth Low Energy (Bluetooth LE, colloquially BLE) , Bluetooth 5 connection range to up to 240m. LC3 audio codec @ 48KHz audio streams to 192Kbps https://www.bluetooth.com/auracast/public-locations/ How join an Auracast™ broadcast on a mobile phone? A simple scan of a QR code will allow you to join an Auracast™ broadcast effortlessly. [Think a QR code shown shown discretely to the crewmember at the sound cart] Let's discuss the pros and cons of this for film/TV set use. security? possibly unauthorized recording of the sound mix leaked, script/plot leaks from it. Would a production company buy a transmitter and expect crew to use their own mobile phones? maybe on a smaller production like a 4 week non-union indie film. Expect to hear of a film doing this in 2023. Would the Sound dept maintain Auracast transmitter equipment for production? and also lose out on IFB rentals? Possibly. Would we have to put in a Deal Memo that we are not liable of unauthorized recording of the sound mix leaked, script/plot leaks from use of it? RF conflicts with other Bluetooth 2.4Ghz bandwidth onset? possibly.
  2. I have a cameraman client that has a snake for camera that has major RFI on headphone out. 25-foot snake, on the pigtail the headphone out cable is thinner, about 16” long and a metal 1/8” plug. I received Strong AM radio stations on it in NYC when using a Sony FX9 camera. I unplugged the AC power supply to camera. I have had issues with Sony FS7 on it too. 2-3 camera setup with SDI cables feeding a Decimator Multiviewer quad-split. 2 cameras, monitor, and Quad splitter all on same circuit= same ground. No buzz/hum. hmm i don’t know if I tried unplugging HDSDI cables from camera. I added a ferrite core 7mm and wrapped the thin headphone out cable through twice. No effect. This is a RFI issue not a EMI issue. Has anyone used a copper shielding sleeve and heatshrinked each end on the headphone return to solve this? Other than rewiring the pigtail and using a different cable that is shielded and a new plastic molded 1/8” plug I am out of ideas. I know it is unbalanced. For a rewiring of headphone out cable should I use shielded Canare L-4E6S Star Quad ? Is this a Sony FX9 issue?
  3. If i were running say a very small Dante network with 1 or 2 Audinate ADP-AES3-AU-2X2 AVIO AES3 to Dante end devices configurable via “Dante Controller”: • Encoding (audio bit depth) :16,24,32 For a very small closed network if I needed to set a mic pre where i couldn’t get to it later and use say a lower mic signal and my device outputs 24-bit AES3 If my Dante network is set to 32 encoding would that allow makeup gain after Dante to be any less noisy since the Dante transmitter & receiver would both use 32-bit ? Even best-case scenario in a anechoic chamber (quieter than a studio…) also does anyone know if Sound Devices 8-series accept and process native Dante 32-bit fixed PCM data? Or will 32-bit integer data be truncated to 24-bits from Dante before the 8-series internal 32-bit processing? Has anyone done this with other DAWs and and Dante running at 32 encoding?
  4. Has anyone used a contact microphone for OTHER THAN music instruments? Not for sound design but to add in the mix on narrative? Maybe to gather footsteps on a metal grate to assist with foley or when a metal wall is being hit ? Has any post foley person said that it may help them with foley to know when footfalls happen when the camera doesn't see below waist? I've only seen contact mics used on double bass or cello for music reinforcement and drums as triggers for samples. I know with contact mics it is recommended to use a Radial PZ-DI Piezo Optimized Active DI box with them.
  5. Would a Owens Corning 703 acoustic insulation, also called rigid fiberglass covered with some thick fake fur on one side be better in a bathroom since they absorb?
  6. Has anyone tried a few yards of thick fake fur on cardboard instead of furniture blankets for a highly reverberant acoustic space? Half Yard Shaggy Faux Fur Fabric Synthetic Plush Craft Patch Sewing Fur Cuts FabricLA-Shaggy-Faux-Fake-Fabric Long Pile Shaggy Faux Fur Squares Fabric Fuzzy Material Cuts Patches Craft DIY Supply Costume Decoration Even when having to put up a 2 wall space for a quick voiceover. Not just walls but say in a bathroom has anyone tried scraps of this fake fur on the floor? Did it help anymore than say a furniture packing blanket on the ground or clamped to the top of the shower curtain loop?
  7. Since this is USA FAA and Federal Regulations not just rules from an airline. I wanted to know how those of you flying with a bag rig pack your lithium ion batteries to travel? AudioRoot, Remote Audio Hi-Q, NP1, Sony L-series I'm not asking IF you check your bag rig OR carry it on. This is ONLY for Lithium Ion batteries as carry on. Flying USA Domestically and also flying Internationally? I carry IDX NP-L7S 68Wh IDX SL-F50 48Wh 2020 FAA website See the regulation: 49 CFR 175.10(a)(18) FAA Packsafe website Now for larger than 100Wh ( or Lithium metal batteries) can anyone detail how they got airline approval? Any issues or administrative red tape taking time? How about flying Internationally? FAA Packsafe detail I have used the original IDX packaging before so they know exactly what is in it although I've been asked a couple times to take the battery out of the IDX NP-L7S original packaging to be run through a X-Ray machine a 2nd time and that was really counter productive.
  8. For the 888 to control faders 9-16 WITHOUT using a tablet or phone in the field for a bag setup can a lightweight tiny Korg nanoKontrol2 ($79.) be used velcroed to a bag and still have access to the 888’s rotary faders for inputs 1-8? it would give Volume/Pan/Mute/Solo per channel. with the Korg Kontrol Software possibly you can remap the pan to trim so you would have gain per input on a knob. https://www.korg.com/us/products/computergear/nanokontrol2/
  9. Shure the CL-16 is the cadillac. The Icon Platform M+ is fine if quirky for $650. Has any musicians on here who happen to own an old MIDI fader surface tried to use it? For the purpose of this idea: 8 faders only. motorized faders not required. So accessing ONLY 8 INPUTs on a 8-series device. with a MIDI to USB converter? as a USB control surface ? I was just wondering if _AT_NO_COST_ anyone got something working for USB Control Surface with linear faders? I know officially Since some here are musicians and may already have one and it would only cost you a MIDI to USB adapter Has anyone tried: USB and DIN MIDI Controller 4 Faders 4 knob programmable CC#/Range DAW/SYNTH eBay for $80. Novation Launch Control XL MIDI USB Ableton Live Controller with HUI Integratio $159. Worlde EasyControl.9 Portable Mini USB 9 Slim-Line Control MIDI Controller B2Y7 $50. Btuty Portable Mini USB 9 Slim-Line Control MIDI Controller Keyboard Controller (same?) $65. very old JLCooper ES-8/100 MIDI -RS232 Motorized Fader Controller with 8 Faders eBay for $220. heavy weight and a cheap $20. MIDI to USB adapter JLCooper FaderMaster MIDI OUT eBay not a 15-year old old heavy Behringer B-Control Fader BCF2000 on eBay for $200. FaderFox UC3 $249.99 http://faderfox.de/uc3.html older http://lividinstruments.com/products/alias8/ Livid DS1 MIDI $345. used the Novation Launch control XL says “You can even control all MIDI-compatible iOS music software; all you need is a Camera Connection Kit.” imagine using it with D Remote on iOS… oh 16 faders? this company makes a 16 linear fader MIDI hardware unit for $350. (Yes only 60mm throw faders…) XVI Desktop USB 16 Channel Fader Bank with CV, I2C, and MIDI https://michigansynthworks.com/products/xvi-desktop-usb-16-channel-fader-bank-with-cv-i2c-and-midi
  10. https://www.newscientist.com/article/2287973-sneaky-us-navy-feedback-device-could-stop-people-being-able-to-speak/ patent filed in 2019 a better photo is here. I knew when I used a Nagra IV and had it monitoring off the playback head if I tried to slate a scene or a head of a new roll I couldn't concentrate. A real non-leathal weapon.
  11. It's been a while for a thread on Genlock. Actual camera sync (not just timecode identification on frame1 in the XMP metadata of a file) Sure 1. live video switching needs Genlock, 2. 3D camera rigs -- cameras need Genlocked for in phase shutter and timecode sync. 3. shooting concerts, all-day corporate conferences, or long form documentaries with takes being 1-2 hours before media change means multicameras need to stay in sync and not drift. Other than the old RED camera issues and ANYTHING older than 2011.... When you've done a shoot with 2 or more cameras with very long takes. Were there any very productive conversations in pre-production that ended up in production requiring and agreeing to using a Sync Gen? Yes Genlock can interfere with the shutter and scanning processes of cameras and that's why I am asking since it involves Sound/Camera/Post. Have production wanted to do a test with 3-cameras with Sync Gen and long takes during prepro when shooting longer than 40 min. takes? Have any of you got the dreaded call from post about camera drift even though you know you have a great sound recorder with high accuracy? How did that go? Were you blamed because 1 or 2 cameras out of 5 were not in sync? With new smaller lighter TC boxes have Genlock such as Timecode Systems UltraSync ONE with a temperature controlled XO it is going to be more accurate than a camera itself. I started using daisy-chaining 2 cameras on non-stopdown 2 hour sit-down interviews so they would both stay in sync. I was also feeding them both TC. Then I started using a AJA GEN10. I have found the GEN10 was very specific for PsF vs P settings for certain cameras before they would see it and lock. For most modern cameras that have GENLOCK IN have some of you other soundies used a AJA GEN10 (to hardcable Genlock) or Timecode Systems UltraSync ONE when using 2 or more cameras? Have any of you gotten a AJA GEN10 and billed for it to provides a frequency clock reference to "synchronize the cameras" on a long take show? Did you also feed AES10 to your recorder via AES IN and stay in-sync with the AES sync generator? Have any of you experienced Camera Dept. or DIT providing a GEN10 ? On shows with HDSDI hardcabled to camera Is a Genlock cable and also a TC cable really that awful these days that you've gotten a lot of pushback from Camera Dept. when camera is on a tripod in a 1 or 2 location only day? Has anyone experienced more accuracy with hardcabled Genlock instead of using a little box providing Sync and TC?
  12. I used a SD 888 recently outside when it was 90 degrees F (32 C) with AC power and it put off a lot of heat. I had it in a bag with sides open and even put a XLR head between the 888 and the bag wall to have 3/4" air on top and bottom. I only had 4 of the analog channels turned on. The XL-AES accessory was installed but not being used. It was still hot to touch. The 888 Operators manual states that is 140 degree F ! from Sound Devices 8-series FAQ I was considering for long term perhaps having a heat sink for natural convection would be better especially for when in a bag and running around you don't want a lot of space around it to jostle around. Would a heat sink help here? Doing a little searching on JWSound I found this very old 2009 post about issues with Sound Devices 788T in a bag Has anyone used a heat sink on top of their 788T, 688, or 888, Scorpio when in a bag as you were concerned about heat and longevity of the electronics too? Any experiences you can share? I was considering a 1/2" tall heat sink as a passive heat exchanger big enough to cover the entire top of the 888. I really don't want to use Thermally Conductive Grease (like Lectrosonics silver conductive grease) on the 888.
  13. On June 8 Amazon turns on the Sidewalk mesh network. It runs on a few technologies 915 MHz “LoRa DTS” (Long Range Digital Transmission System) as well as Bluetooth Low Energy (BLE) [2.4 GHz ISM band] I'm concerned we are going to have RF spray and some major RF issues with part of the spectrum of older Lectrosonics D4 902-928 MHz system starting June 8. The D4 Tx was always Niche doing 4 channels on a digital stream. Obsolete now? June 14 Tile trackers start using the Sidewalk network too. Does any other pro audio wireless RF gear use that range (902-928 Mhz) also? I think the license-only 940 band from Lectro is safe. 940 (941-960 MHz) more info on this tech that will be in homes and businesses and most likely Amazon delivery vehicles. Sidewalk has a larger range than Wi-Fi — in theory, up to 1,500 feet, according to GridConnect. Amazon’s wireless network, explained https://www.tomsguide.com/reference/what-is-amazon-sidewalk Amazon's Sidewalk Network Is Turned On by Default. Here's How to Turn It Off The company's Sidewalk mesh network goes live June 8. The good news is that you can turn it off. https://www.inc.com/jason-aten/amazons-sidewalk-network-is-turned-on-by-default-heres-how-to-turn-it-off.html https://medium.com/@prajzler/amazon-sidewalk-a-technical-deep-dive-3e7dd80f0aee
  14. Is the Icon Pro Audio QCon Pro G2 Control Surface a possibility with the Sound Devices 8 series (or 633,688) in lieu of the Sound Devices CL-16 16 dedicated fader unit? Icon Pro Audio QCon Pro G2 $700. USD approx 8 touch-sensitive motorized channel faders universal control surface with Mackie Control and HUI emulation 12Volt2.5A DC powered USB 2 connector 14.6lb heavy.. https://iconproaudio.com/product/qcon-pro-g2/
  15. When I first started out we were doing a press day when Tori Amos founded RAINN organization and there were crews setting up for interviews in a few rooms in an old building in East Village, NYC. wooden floors and hard walls. One crew had treated their entire room (maybe 10x16 feet) with soundblankets on the floors only and when I walked past it it still sounded full of echo. So yes blankets hung vertically help a lot more. On a movie I dayplayed for another mixer we were in a large room. The boom op helped me use furniture blankets on C-stands vertically in a V-formation spaced about every 10 feet back from our area. It was the first time I had done it but he told me his regular mixer did it that way. I think we used maybe 6 C-stands. It did help somewhat. On a short film in a bathroom with one character standing in front of the sink talking to himself in the mirror with CU shots only I put blankets out of the shot in the bathtub and under the toilet and they made a huge difference. It is like when you go into a new home and there is an empty bathroom without a shower curtain. Here is Excerpt from Sam’s Tail, a branded comedy for Heineken. scene starts at 2:25 I need to get some furniture blankets. Maybe start with a few. I heard on a youtube video that some people can buy them cheap used on Craigslist. black/white or grey is the key thing here... And yes a shag rug is gonna do wonders in a room acoustically but for a working film set not very practical to cart around and setup. So when I've had to goto a person's home for narration record I tried to get a walk-in closet or a room with carpet and heavy drapes. Along with this thread topic I have recorded voiceovers in people's walk in closets. I have also lined a small closets' two door doors with blankets held by spring clamps at the top and had the narrator face into the office's closet and record some VO. with the door open maybe 25 degrees. I have built temporary voiceover "booth" out of 5 blankets. In a large very reverberant space I used 3 as a triangle hanging from C-stands, one laid over the top, and even one on the floor and gaff taped it down on the edges. Boompole coming in from overhead on a stand. I also setup a C-stand holding a small solid flag for talent to lay their script on and another lightstand with a 150w fresnel peeking in the top corner so they could see. We are talking about 2 minutes of VO to record immediately after host reads to camera on a set 50 feet away.
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