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Ian Berman

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    ianjb.com

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  • Location
    New York
  • About
    Production sound mixer, post engineer, interactive audio for games & music
  • Interested in Sound for Picture
    Yes

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  1. Very interesting. Bluetooth 5.2 was already pretty impressive, in terms of range, quality and power draw. Curious how reliable multi-receiver use will be. Is the delay still around ~250ms ? Can't find info on it.
  2. In theory, you should be able to jam the alexa lf from a mixpre 10 tc out connector, assuming you have a bnc -> 5p lemo cable. However, that's a relatively clumsy procedure and camera timecode is not always reliable. And you're right, battery changes would likely throw off the camera as well. Therefore, standard practice is to have a timecode generator feeding every camera. I also have a 3rd timecode box in my bag, feeding my mixer, just to make sure everything is 100% in sync.
  3. Amazing. Very tempted to go this route!
  4. I saw that -- considering buying the CMC 1L and a MK4 for combined use as 1/2 of a ORTF stereo kit as well (as I may also be in the market for that). Rigging and un-rigging it might be more of an annoyance than it's worth, though.. Thanks for the post Ty, I was unaware of Klover but the mic comparisons are a great reference! I see now these are the ones used in sports broadcasts! Thanks for the thoughtful comment Jez, I will be sure to look into the resources you've mentioned! Oh wow, had no idea about this page. Very tempting..
  5. Ooh, where do you see this? I was looking at the Schoeps site with great interest yesterday but didn't come across it. Maybe it's just in Germany?
  6. Hi! I'm in the market for a parabolic dish to record mono fx/ambience such as birds and environmental sounds. My top priority is maintaining a low noise floor and environmental isolation, as the sounds will be placed in mono within a game engine and spatialized relative to the player. It will also need to be relatively portable & able to be carried around easily, as I am traveling for the project. I've been looking at solutions, mainly the wildtronics pro mono and the telinga modular. It seems posts on here from several years back mainly discuss the telinga, but I believe they have released an updated model since then, and there are few impressions of the wildtronics system. My understanding is that the wildtronics has an integrated mic, but I'm unsure how it compares to professional options. I already own a mikrousi and a 4060, but would also consider purchasing a lower noise omni such as an 8020, 4022 or mc59. The telinga is substantially more expensive, but if it's noticeably better in frequency response, wind protection, or source isolation alongside a professional mic, I would consider it. Thanks
  7. Can confirm, I regularly get through long shooting days with a mp10tii + 1x SRc + 1x SRb on a single eSmart battery, even when it's cold out. If I don't bother to turn anything off during lunch or long setups, sometimes I swap to a 2nd battery towards the end of the day. But usually I can last the full day with one.
  8. $4500 -- I think that's a new rx high score? Two channels of true (vector) diversity, if i'm understanding this correctly. Does the other diversity mode, for 4 channel operation, work similarly to past sr series? Or is it a newer method?
  9. It’s that time of year, and I have been looking into this topic on this forum and elsewhere. Just finished watching the 3 Gotham lectures with Nancy Adams linked above, which were very insightful. It seems that in 2015 you were able to report a 1099 kit fee as part of schedule E and thus have it not be subject to self employment tax. However, 1099s are now usually issued as 1099-NECs, and no longer have a box for “rentals.” All of my 1099NEC’s just have box 1–nonemployee compensation. Does this change the validity of using a schedule E for kit rental? It seems that the best way to do it, and perhaps only way in TurboTax, would be to under-report on 1099NEC and submit a separate 1099MISC as per this thread on TurboTax. I will probably contact Nancy Adams’ firm with regards to this, since they seem knowledgeable and I don’t have any other resources. Regardless, I’m curious if anyone here has insight—or a CPA’s recommendation—on the matter.
  10. In my opinion, yes, if possible. In post I sometimes do this sort of thing rather than using IRs, popularized by Walter Murch as "worldizing." I would certainly love to have this option, from a post sound perspective! However, on set it's often impossible to corral the rest of the crew to stay silent and respect a few takes just for sound. I therefore try to anticipate if it's possible before asking. Ideally this should be planned for in pre-production, and when plans change given time constraints, wild sound is (and frankly often should be) the first thing to go. I would be interested to hear people working on larger-scope projects chime in, if time is ever built into larger sets for worldizing sounds.
  11. Thanks Philip! I'm not sure yet, but just want to know what I'd be getting into (or out of!)
  12. Hi everyone, just putting some preliminary feelers out, since this community is such a wonderful resource -- I'm currently a full-time nonunion production sound mixer & post sound designer for indie films & commercials in NYC. But I have toyed with the idea of moving to Berlin since studying there a few years ago. It's looking like I have a longterm, part-time remote position doing sound design for a video game which would pay basic cost of living. And I also have many friends who still live in Berlin, mainly working in the music/art/tech worlds -- it would be relatively easy to get a visa and find more work in those areas, if I wanted to. However, I do quite enjoy film production work, and it would be a shame to completely give it up. So, I'm wondering if anyone on this board has familiarity with the production/post sound scene in Berlin -- if any productions are conducted in English, if there are any resources or international production companies I should look into? Or if anyone on here could eventually use an experienced English-speaking utility, boom op, or junior sound designer, feel free to reach out. Thanks, let me know Ian
  13. I've seen it on a rate card for another mixer, and they charged $50/day for it. So maybe that's a rough guideline. I personally don't know a producer who would see that and know what it is -- much less know why it's worth paying extra for. On a production where I know my sound is going to an editor and not to a dedicated sound designer (instagram ads, mainly) I'd probably sell production on paying extra for it. On narrative projects, I usually will not charge for it and just use it at a very low level (like -2-3db) for the comtek/playback feed, since they should really throw it out in post anyway. That being said I have the nosieassist for the mixpre and not cedar, and I mainly work on low budget indies and not major projects.
  14. Gotham told me last month they were expecting some inventory in February.
  15. Looks like it will be available in USA... https://twitter.com/GothamSound/status/1473326456000462848 https://tentaclesync.com/beta
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