Jump to content

Robert Bluemke

  • Posts

  • Joined

  • Last visited

  • Days Won


About Robert Bluemke

  • Birthday 01/01/1

Profile Information

  • Location
    Brooklyn, NY
  • About
    I am a location sound mixer based in New York City.
  • Interested in Sound for Picture

Recent Profile Visitors

3,087 profile views
  1. I hear a lot of complaints (mostly on the Facebook groups) about people advertising themselves as mixers without having a working knowledge of the job, yet here we are piling on someone who essentially wants to be an apprentice and learn the right way. I understand that "volunteer" maybe isn't the best term, but let's also remember that English probably isn't the OP's first language. Elias, Vas would be a great person to connect with!
  2. That's a pretty average scan these days in NYC. If I'm working outside of Manhattan my scans are a little bit better.
  3. Here's mine at the moment. I'm tossing around the idea of renaming my company (aka me, myself and I) in the event that I want to start expanding my services, so I'm a little behind in updating it. https://www.robertbluemke.com
  4. I still don’t understand the lack of AES. DANTE is great for a cart but in the bag AES is way more efficient from both a power perspective and a flexibility perspective. It definitely looks like a great recorder but I think Sound Devices is missing a huge need in our market by ignoring AES connectivity.
  5. @andrewsbaik I agree with Jon, Logic is more suited for music production than it is for audio editing. I would definitely take a look at Reaper instead of Pro Tools for your DAW, I would only go with ProTools if you are sending mixes back and forth with others that are already using Pro Tools or if you plan on doing mixes for clients. Reaper is $60 and provides all of the DAW functionality that ProTools does.
  6. Unfortunately this sounds like another case of inexperienced crew members put into a position where they can't even tread water. I'm noticing that a lot as well in the non union commercial pond I tend to swim in, folks moving up the ranks too quickly without a really good idea of what every department does and what they need to succeed in the whirlwind environment that we work in. Too many AD departments that keep incessantly asking if I'm ready to wire, while employing the logic that if you wire everyone in frame (and maybe even out of frame) it will miraculously fix any sound problems that may arise. FWIW having watched "When They See Us" prior to reading the article, I'm in awe that you were able to capture sound as well as you did. I never felt that the sound quality took me out of the moment throughout the series. It is frustrating that a DP and a director both are willing to make a conscious decision to frame things in such a way that they know they are compromising the ability of the sound mixer to do their job properly. Kudos to you and your team Jan for making the best out of a tough situation, I hope your next gig is smooth sailing.
  7. Have you ever used the three pop up faders on the 633, they're close to worthless if you have adult sized hands. I think once we get a chance to use the selectable banks it will become incredibly fast to work with the rotary encoders.
  8. I’m using the AO-1.5 silent for my Nomad rig and I really like it. It’s at least half the weight of my Orca OR-34 or my KTek Stingray medium, but it doesn’t feel cramped. I also like the ability to add or subtract storage via Molle based bags depending on what type of work I’m doing that day.
  9. I have a Mixpre 6 with an IFB100, but instead of using the IFB100 as the master clock I use a tentacle as the master and then had Gotham Sound build me a Y cable that feeds both the 100 and the Mixpre from the tentacle. Haven’t had any issues with the Mixpre losing code and the cable was pretty cheap.
  10. I’m also using a full Zaxcom set up, so all of my channels are backed up by the transmitter recordings. I keep a MixPre 6 in my kit. If my Nomad were to go down, I can swap recorders in less than 10 minutes and be back up and running.
  11. The latest versions of firmware for the mini and the Amira work fine with the ERX. I’ve done shoots with both cameras this year and have had no issues at all.
  12. Has anyone been able to connect Sound Report Writer to their Tentacle Sync E? I’m trying via Bluetooth and by hardwiring it to my phone but the app is not recognizing the Tentacle. I’ve emailed the app developer over the weekend, still waiting to hear back from them.
  13. At this point, the only time I run into a Red on set is because the DP owns the package. Thankfully most of the DP's I work with have ditched their Red's and bought an Alexa Mini. One thing you can do is have them calibrate the sensor (black shade) to run at a higher average temp. This may help a little, but if you're running longer than a half hour per take then this may be all for naught.
  14. According to the FCC papers for the TRX900 the high pass is implemented in the digital realm. If the signal flow has changed since then I haven’t been able to find documentation showing it.
  15. I like to cut the lows before they hit the A/D converter if I can, but I have been using the high pass built into the ZMT.
  • Create New...