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john Quinn

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Everything posted by john Quinn

  1. I have filmed there many times and both worked fine.Take both if you have them. Best John
  2. I think once you reach a certain level, it becomes a "Lexus vs. Mercedes vs. BMW" But if your using Audio Ltd 2040s your driving an oldRolls Royce .LOL It is a bit of a shame that in real life I drive VW Passat Diesel ,oh well maybe in my next life. Best John
  3. They feel sightly sturdier which is good .Sound wise very good but that is in the eye of the beholder (ear of the listener ) .All in all they feel good but only time will tell if they are worth the money. Best John
  4. http://en-de.sennheiser.com/closed-headset-passive-noise-reduction-studio-tv-radio-broadcast-hme-26-6004 I have been using these ones they are from the same family of headphones but with a boom mic for about a year now when I am working at my cart.They sound great but would love to have a curly cable, that is my only gripe. Best John
  5. No it should not happen .Check they are set up properly ie there is a reasonable amount of separation between the TX frequencies . Best John
  6. I have just arrived home at 18.30 after a 14 hr day. A normal day these days seems to be twelve hours door to door but I have had jobs where it is 12 hrs on camera plus travel which even in London can be a 15 hour day. Best John
  7. I interviewed Keith a few weeks ago at the Electric Lady Studio in New York he was very pleasant to everyone and told some great stories .He was not in the slightest starry but he did have a rider "1 pack of Marlboro Red and a lighter".I think the lighter was optional still cool at seventy. Best John
  8. Why not get a job in a hire company that way you get to learn about the equipment and you will also make some money while you are learning. Best John
  9. Jon you have to look on the bright side at least they will have the best sounding radio doc made last year.LOL Best John
  10. I worked on a film last year with two handheld aaton penelopes all shot very close and with a VERY quietly spoken leading man.I radio miked and boomed every scene but sometimes it sounded like the cameras where running on diesel .I do think that the lav's helped greatly due to the fact that the actors played almost all scenes so quietly.Quite often during the rehearsals I would stand on set with the Director and he would turn to me and say "did you hear that "and I would say truthfully "not a word"and these where not large sets and getting more level from the cast was definitely not on the cards.But I saw the film a few weeks ago and even though it felt like swimming through treacle to get those tracks it all sounded fine and there was almost no ADR.I suppose it showed me what good post can do . Best John
  11. OK if you are booming on a TV drama or a feature film resting the boom on your head does not really cut the mustard and the chances are that the scene/take will only last a few minutes at most ,so really two hands all the way. But if you are running around with a bag strapped to your back stuffed full of radio mics while holding a boom in the air for many hours of the day then resting the pole on your head shoulder or passing heffalump are all legitimate ways of recording good sound.Working smart is as important as working hard. Best John Can you tell from the above that I come from Scottish Presbyterian Stock
  12. Head, shoulder, fence, lighting stand what ever works we are not machines and sometimes you need to adjusted your mixer. I used to just use the force but my Jedi days are over young Cloud Wang and now I let my brain take the strain Best John
  13. Daisy chaining does work no doubt I used to do it myself many years ago,But all those extra long bnc cables lying around the floor is an accident waiting to happen .Loosing a picture on a monitor is an easy thing to spot but once you start filming TC drift is not so easy.And as has been said many times before the sound department get the blame when there are TC problems not the camera department. Best John
  14. Daisy chaining is just a big pain in the neck for everyone, it is cheaper time wise to use lockits and more reliable because you have less chance of getting a broken BNC .As one broken BNC at the beginning of the chain will affect all timecodes further down the chain ie all cameras will revert to their internal generators and quickly drift apart . Best John
  15. 3 camera shoot today 2 PDW700's and a C300 all with Timecode Buddies rolling record run. No Timecode issues. Use sync boxes no matter what the shooter bitches about. Hi Rob Why are you using Rec Run and not TOD/Free Run timecode just wondering. Best John
  16. Giving is good and this place gives by the bucket load.And it often has me roaring with laughter, a great resource long may it last. Cheers to all Best Johnu
  17. Thank you Jon. I have got far to much time on my hands at the moment Best john
  18. It is terrible Mike that we live in such a buck passing world ,but you do not want to be left carrying the can when the shit hits the fan just because someone holding the purse strings does not know they're arse from they're elbow . Best John I think that is five metaphors in one sentence. LOL
  19. The rule is if it has got timecode in it ,stick a lockit on it. If production do not want to pay for them then explain as nicely as possible that they are making a mistake and that it will save them money in the long term.If you do not do this then when things are out of sync they will always blame the sound dept as timecode is considered our responsibility.But if you have explained to production that cameras in multi camera or a separate sound scenario will not stay in sync with each other and they choose not to heed your advice and spend a few pounds upfront then you have done your job and you are in the clear. Best John
  20. And does Heathrow still only allow 1 carry-on? Generally yes but I have on occasion carried my sound bag plus pole and 416 in rycote and a small ruck sack. The people a Heathrow are very used to dealing with crews and it is pretty much a very easy airport to travel through. Best John
  21. OK before everyone jumps in my last statement was slightly tongue in cheek Best John
  22. Whatever is really crap and picks up every little noise the camera op makes.The last thing you want to hear on shoots is "don't worry we will go with the camera mic". It is hard enough to make a living without giving them the tools to shaft us with sod the camera mic and do your job properly My two pence worth. Best John Sorry if that sounds harsh
  23. Contact Vin he is based in India but he is on holiday this week in the UK I am sure he can help you out .His email is vinod@soundtrane.com Best John
  24. Hi Malcolm When I first got my 50s I had a bit of a problem with them which initially I thought was a handling noise problem.It sounded almost like they had a loose capsule but when I plugged them into my SQN or directly into my recorder the problem disappeared .It turned out that the 48V line on my Audio Dev AD146 was not producing enough current which caused them to sound great until you tried to swing them.A quick visit to David Lane problem solved. Best John
  25. I like Robert have 2 MKH50s and have never had a problem with handling noise.The 50 is a great mic with a fine sound and as reliable as a 416. Best John
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