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About cjh

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    Hero Member
  • Birthday March 24

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  • Location
    Wellington, New Zealand
  • About
    Freelance location mixer since 1992, a few staff years at various places before that. Very happy that a resource such as jwsound exists for us all, a wealth of great information to be shared.
  • Interested in Sound for Picture

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  1. Got a few mozegear Qbits on a recent job when the arrri mini's latest firmware decided it didn't want to play with the zax erx TC, they were cheap and available in the time window I required, they worked, held sync and are tiny but were sometimes hard to jam and the charging led's weren't super reliable so I'd prob go another way next time.
  2. If I replace my QRX100IFB with a QRX235 will the 235's bandwidth (block20) start at 512mhz like the QRX200 or is it still at 518mhz like the qrx100? Zax specs say its 518 mhz but after a user conformation in case it is a typo..? Thanks, Chris.
  3. Is audio being sent to monitors via embedded SDI? If so a work around maybe a headphone out of the dir's hand held rig. The SDI cables are worth a dbl check, even tho vid says they all good they may not be or one may have a termination issue etc, if it's unbranded cable it may well be lacking in RF insulation. Good luck! C.
  4. A collaborative costume dept is the main tool to get the best of situations like these, plus a cast member who is open to some experimentation of mic placement in order to capture their performance as best as possible. Whenever possible try and get an early look at the costumes so you can get a jump on anything that might be a problem, in the calm of offset and less pressured time other depts will be much more open and negotiable to sorting such things.
  5. cjh

    2 person sound crew

    to coin a new old phrase: Two's company, three's a crew.
  6. cjh

    2 person sound crew

    The slower on set pace a 2 person crew work at is only half the argument, to me a 3 person crew is as much about what that 3rd person can also offer as a fast deploy 2nd boom and onset problem solver which has a direct effect on the end result of the quality and usability of the production audio. My aim is to get the best audio possible and that is always my main discussion point when negotiating a 3rd or 4th person, on set work flow speed is also a valid argument but I use it as a secondary point, fair to say that is often the clincher in terms of production saying yes. It's all project and budget specific of course and sometimes a 2 person crew is acceptable but the project mentioned in this thread is definitely not one of those.
  7. cjh

    2 person sound crew

    With that cast every single mixer who gets offered that job should turn it down until a 2AS is confirmed.
  8. Thanks all, I think the IMP splitter looks like the go. Looking fwd to a cart rebuild, just need some time off to do it!
  9. whats out there? Need to maximize ouput flexibility of my cart, needs to be small, dc powered etc - will be used to split line level comms feeds. Thanks! Chris.
  10. On the mocap shoots I've done put the lav (dpa 4063) on the side of the camera boom arm with a decent fluff on it, it just off to the side to avoid direct breath hits and it works well, especially for low level stuff. I also use zax wireless which you can adjust preamp on the fly and their neverclip system deals with unexpected level changes pretty well. That said high dynamic performance with fast changes is still tricky, especially on multi talent scenes. But that's the best thing about mocap is that it is a dream set up for the boom and that is always the primary capture mic. With a good boom op and remote tx ability you can pretty much deal with anything. I always look forward to mocap shoots because you have the consistent ability to turn in very good tracks. Lav mic on forehead when not using facial cam rigs which still sounds good but I prefer the arm rig though its a bit more fiddly to rig. We also put the Tx on a pouch on the back along side all the other boxes they wear, the removal of them is fast, we have them disconnected faster than the camera team disconnect the facial cam umbilical so all good so never an issue.
  11. cjh

    Favorite Slate

    This is more a question for camera assists, we supply the slates but they are the ones that actually use them. From my experience most prefer the original size denecke type slate.
  12. I'm doing a low budget film now that is mostly 2 handers and mostly only on 2 simple locations. I have a boom op, and a very good one at that. I do location sound because getting the best sound out of any scene is very high on my job satisfaction requirement list so I never do any feature work alone. Even on low budget I will push for a 2nd AS also, that often gets a no but makes prod realise that they really need at least a 2 person team as that is already a compromise in my books. I say to producers if they want good sound then I need a minimum of xxxx resources (which varies per prod) and if they say no to my minimums then I say no to the job. This is not about money either, it is just about being able to do my job and turn in rushes that I am happy with, way to many compromises when doing it alone. I applaud your saying no Fred and you said it for exactly the right reasons. 2 handed scenes may appear simple on the page but there are many things on the day that can complicate the sound capture of even single headed performances.
  13. As mentioned, if 3D camera to camera sync is a big deal and because of this all 3D shoots I've worked on cam dept has supplied the TC setup and given me one of their units for sound sync. I wouldn't go near it without thorough cam tests and a decent hire fee to sort it.
  14. one week in with the Pana DLX2, doesn't have the audio module so TC lock only, all works well and the fans are a lot better than a standard red build.
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