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Daniel Bohm

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About Daniel Bohm

  • Birthday 01/04/1982

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  • Location
    Hungary, Budapest
  • Interests
    sound mixing, sound re-recording, sound design, sound restoration
  • About
  • Interested in Sound for Picture

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  1. Hi All! I want to make new transfers on 35 and 16mm perforated magnetic tapes for a client. I know it sounds crazy but it will be great fun if we can get there... Does anyone using these tapes nowadays? Do you think i can find any new/old stock somewhere? ATB Daniel
  2. Thank you for the super information. I'll contact the companies you suggested. Will keep you up to date.
  3. Hi All! I know it's not usual but I am in a strange situation and searching for a solution. We have a film that has only this sound source, all other original materials got lost during the years... I am searching for a projector sound head or whole projector to digitize this film's sound: That's the best I found about it on the internet: http://www.graumanschinese.org/projection-2.html The whole point of CinemaScope was to give the public that Cinerama feel — without having to make expensive alterations to a theatre. Because of the grain factor, Sponable wanted to use as large a negative as was possible in 35mm, which meant going back to the silent aperture, which had the famous aspect ratio of 1:1.33. Expand that by 2 and you have 1:2.66, which would be wider than Cinerama (if the three panels were flattened out anyway). The sound would be carried on a magnetic fullcoat dummy, just as Shane had been: 3-channel. One of the major benefits of the CinemaScope rollout was obtained when Hazard E. Reeves (of Cinerama fame) and his Reeves Soundcraft Corporation did the unthinkable: put the magnetic soundtracks on the film carrying the picture! Frequency response: 40Hz to 12K Hz flat + or - 2dB Signal-to-noise ratio: 52dB Distortion: 3%; less than 0.75% harmonic distortion. LEFT: Sample of CinemaScope 4-track magnetic 35mm Tecnicolor IB release print of The Robe, © 1953 20th Century-Fox Film Corporation. ABOVE: Astor Theatre, Melbourne, Australia. Projection Room. 35mm 4-track magnetic print of The Blues Brothers passing through the optical sound head of a Cinemeccanica projector, 2013. Photo by George Florence. Viaastortheatreblog.wordpress.com. It was an obvious thing to do, yet it wasn't until Reeves discovered a way to "stripe" an actual release print that Sponable and the gang at Fox realized that here was a way to make the whole thing work: 4-channel sound on the film. So what they did was to narrow the sprocket holes, so that the space between them increased, then placed mag tracks for the left, right and center speakers, with a smaller one for the effects track. This came to be known as a "composite" print. How did the magnetic sound on the print get read? Simple. The International Projector Corporation, owners of the Simplex brand, were asked by Fox to design what came to be called a "penthouse." Since the Chinese (and the Roxy Theatre in New York City) already had the Simplex XL projectors in the booth, the task of designing and constructing the first 4-track mag penthouse went to Simplex. Is here anyone who knows a place to rent or buy a projector that can play this film? I also need to ship it to Budapest, Hungary... so only magnetic sound reader head+amplifiers+special cog wheels maybe easier to ship. Thank you! Daniel Bőhm
  4. My small ,,tourist" setup. 633 and 4 audio 2000's in the stock 633 Portabrace DSL bag with all the bells and whistles Mini VDB internally cabled boom pole DPA windpack
  5. The program is for a computer that you use to copy the files coming from the pd6. It's possible to replace the dvd ram with a dvd ram emulator but it's too much work to make one and no use because it left us the problem of the 23 minutes limited recording time on a dvd ram disk. The only ones who could write a new firmware for the pd6 are the engineers at Fostex. I can only hack the machine. The hardware change is to make the hard drive removable or change the hard drive to a removable memory card and leave the dvd ram drive or remove the dvd ram drive (dvd ram eats power... maybe just an on/off switch...). Once you plugged the internal drive directly into a pc or mac with a special program that we are working on you are able to download all data from it to your computer's hard drive and you can find the wav files on the partitions and copy them into real useable folders onto any media. This means that now it's two steps. Once you plugged the internal drive into a computer you need to copy everything from it (all data) and second step is to scan for the partitions and the files. That's what we want to make easier in one step. I hope that it will be a solution to give a few more years of use to this lovely machine. I am thinking of the way how it should work. Only a software for mac or pc, or a hardware like this: http://www.amazon.co.uk/NexToDi-ND2730-backup-official-reseller/dp/B005D7J0NS Should we just sell the software/hardware or should we also offer to make the modification on the pd6 to make it's hard drive removable? I don't know if anyone would use this and would pay for this except me? It's a hard question 'cos it's so much work to make it a pro solution.
  6. I am using the SD633 now, but PD6 is too good to put it on the shelf. I am thinking of putting it on my cart again as a backup recorder or use it's preamps for some projects... anyway... it's a nice recorder and with less consumption (without dvd writer, only memory card) it can be good sometimes...
  7. Hi Everyone! We began to assemble a program that can read all the partitions on the drive of the old pd6. It works. Now we have a software that reads all partitions on the internal disk (or memory card) of the pd6. We want to change the hd to cf or sd card, remove the dvd ram (it's consumption is too much...) and make the pd6 a memory card recorder. The other option is to keep the dvd ram as the second, backup media. The partitions size can not be changed (24 minutes of 6 track bwf 24/48 on each 1,4 Gb partition) but you will be able to simply use a memory card in the pd6 and a laptop with the software to read all partitions and files recorded by the pd6. On the recording media (HD, CF, SD, etc.) there can be as many 1,4 Gb partitions as the media's size enables it, no more juggling with the dvd rams... And as we all remember pd6 can easily change between partitions during recording, it just splits the take to two parts in the second (sample) the partition is changing. We already have the program that can read all the partitions of the hard drive comes from the pd6 it just needs a user friendly look. Any suggestions, opinions? Do we need this?
  8. Hi I am working on a documetary film where Rachel Weisz will be one of the voices. I need to book a studio for her in NY next week for about 4 hours. We want to use source connect with PT10. Can you suggest a good place for that? Daniel
  9. Hi! Anyone had any experience with AT895 mic? Can someone compare it to mkh416 or mkh816? Is there any situation where the AT895 is a good choice? Thanks! Daniel
  10. I could talk to the DOP and we agreed in Arri 535 B! The 235 will only be used in some mos situations... Happy:) Thank you for your responses!!! Daniel
  11. Hi all! I'll have to work with an ARRI 235 35mm camera. Please write down your experince with it. How noisy it is indoor-outdoor, what do I have to look for, etc... I'll probably use my PD6 with EX12 or SD788t. Thank you for your responses! Daniel Böhm
  12. Ok union or non-union people... But here is JWSOUND.NET:) It's amazing that here's a forum, where we can discuss everything. Thank you Jeff! Life is changing, but here I can see only good people. It seem's we're all in the same... Keep together! Daniel Böhm
  13. Hi! It's good to see that everyone is using legal software. I am using ProTools since 2001 and I always have it legally. Nearly all sound studios are using legal ProTools HD in our East European country - Hungary I think cracked versions are great to give a try to my generation and younger people who needs to learn a program outside of the studio. I'll get my diploma in this september in our country's film university and nearly none of my classmates can use ProTools because they couldn't afford to buy it, don't want to buy, they use other cracked programs... PT is a standard, that you have to know, but a student can't afford it. And some funny prices in my country: Normal salary $400/month Sound Engineers Salary in the National Radio (40hours/week PT HD, etc.) $502/month Sound Recordist +full equipment for documentary $100/day Sound Department for feature film incl. equipment (PD6,Deva,Lectro., etc.) $400/day etc. Here we have big problems with producers, we can't unionize etc. In our country the winner is who can do it cheaper, who can give you an invoice of twice the real price for tax evation. You allways have to bargain for Dolby rights, etc. And it's the same in all professions. So EastEurope is not only about torrents, It's a mentality that's hard to change. I was happy that the program was cracked when I made this topic, but shortly I realized that It's against me too... but anyway it's an illuminating talk again. Hope you have better days there. Sorry for my bad English. Daniel Böhm
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