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David Waelder

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About David Waelder

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    Hero Member
  • Birthday January 1

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  • Website URL
    http://www.productionrecording.com

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  • Location
    Los Angeles
  • About
    Production Mixer
  • Interested in Sound for Picture
    Yes

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  1. “ It will also work in a kitchen, a living room, a hallway, a bathroom, outside, inside and in a car, even in the dark or sunlight.” I’m disappointed. I was expecting a nice Dr. Seuss rhyme. David
  2. That's been my approach too. I started with just Comteks and gradually added a few Lectro IFB units for the director and producer and a few others. It's a good workaround. The quality is pretty good, not a hard wire connection but good enough for all but the most critical listening. Most of video village doesn't need the best quality and aren't listening that closely anyway. A few units for key people works well and keeps the investment from going crazy. Start with just Comteks and only buy into the Lectros as jobs require and you can afford it. David
  3. That's good advice. Parenthetically, I have observed that all my car purchases were made when I was unemployed. It was only when I wasn't working that I could devote the necessary time. But Mike's advice is still good. David
  4. Are you sure you are remembering this accurately, Phillip? I recall buying a hard drive for my Mac Pro about that time, or maybe slightly later. I paid about $560 for 20 (just twenty) megabytes. David
  5. We sold the large cart, not pictured here, for about $12,000. The pictures I posted are from the Medium cart. He made that as a more economical choice for people working smaller features or TV shows or in circumstances where the equipment package was smaller. If you were working with a Cantar and the big Sonosax SX-ST, you would probably favor the Big Cart. With a Sound Devices recorder and a CL-9, or similar, the Medium Cart was a good choice. The price depended somewhat on features selected but would typically be about $6000. "Looks like rectangular or square bar in the t-slot for drawer glide." Sometimes. He was moving away from rectangular bars that he would have to craft himself and toward tubular fittings he could just buy and attach. If you look at the upper of the two pictures, you'll see a tubular fitting. It is sliding in a T-slot channel although the frame rail is largely obscured by the blue anodized fitting at the leading edge. "... how many could he make in a year? I don't exactly remember; it varied over the years. My best guess would be more than six and fewer than ten. The limit, by the way. was his output, not demand. I don't know how much you can take advantage of his thinking on these challenges. A good part of my reason for posting is that he was my good friend and I miss him. He was difficult to work with in recent years but he was my friend nonetheless. David
  6. "Disadvantage to this type of monitor mounting solution seems to me to be you can’t easily change the height location." True but the monitors are easily tilted to a comfortable viewing angle. "I don’t plan on getting my own CNC machine and besides, for cost and environmental reasons, I am trying to avoid turning 40-50% of the 6061 aluminum I just purchased for 5-10$ US per pound into shavings worth 10-30 cents per pound..." Remarkably, Chinhda never used a CNC machine. He didn't have one and didn't have the money to buy one. We discussed farming out some of the work to another, better equipped, shop but Chinhda kept innovating and modifying the designs so nothing was ever locked down long enough to go that route. Everything he made was crafted on a Bridgeport milling machine. The Bridgeport is really a large drill press; the only factor that separates it from that simpler tool is a base plate to hold the work that could be moved against the cutting tool with wheels similar to what one finds on a gear head. Everything, and I do mean everything, that Chinhda made was hand crafted. He would load five or six sheets of metal onto the base platen, clamp them together and move them against the cutting edge, judging each cut by eye. (With measured marks to assist, of course.) I'm going to share a couple of additional photos that show how Chinhda used ordinary aluminum tubes to slide in the grooves of the 80/20 extruded rails to make lightweight drawer glides. For the mixer drawers, he usually used regular, pre-made drawer glides but for shelves that would be opened infrequently, these simple sliding rails functioned well and kept weight down. (These images show recorder shelves but the stowable video monitor rack used the same mechanism to deploy.) David
  7. I'm not certain if this is really helpful but I'll share some photos showing how Chinhda met the challenge of fitting a double monitor panel into his carts. Regrettably, Chinhda is no longer able to make new monitor displays for clients but seeing how he made everything work together might be useful. It's also possible that some of the components may still be available in his shop but that would necessitate a search. David
  8. I've suggested this on the forum before but I'm not sure anyone has taken the idea and run with it. It is a bit expensive (the reason I never actively pursued it myself) but it seems promising. Auralex Acoustics make a sound absorbing cylinder called a LENRD. It's designed to be stand mounted and could readily be moved anywhere in a room where it might be effective. One could easily use a rolling stand to facilitate rapid deployment. However, each LENRD costs about $672 and I expect you'd need at least two, maybe three, to really make a difference. If you have the funds, I think it would be worth a try. Link to the Aurelex LENRD: https://auralex.com/stand-mounted-lenrds/ They also have other sound baffles that make a low wall or other acoustic "chicane." David
  9. Following up on the situation, I learned that the Local 695 website is being completely revised. Older issues of the journal will continue to be unavailable, pending the launch of the new website in a few months. The new website should correct the matter or, at least, time and energy will then be available to properly address the issue. David
  10. A good thought. If recessing the rails is difficult, one can get some protection by attaching handles that run vertically on the frame rails. Long drawer pulls are suitable for this. David
  11. Am I missing something here? The IDX 2-bay JL-2 charger for NP-1 batteries is itself a 12-volt power supply. It has a fused AC input and a 4-pin XLR DC output limited, I believe, to 13.2 volts. And, so far as I know, there is no reason it couldn't continue to charge batteries while functioning as your DC power supply. You may already have one in your kit. David
  12. I just checked and found that there is a problem accessing the earlier issues of the Quarterly. Everything from 2011 forward seems to be readily available but I experienced an intercept when I tried to access issues from 2009 and 2010. I alerted Laurence, the Local's webmaster (& education service coordinator) and asked him to look into the matter. As you can appreciate, this is not a problem of the highest urgency but he'll get to it as soon as he can and I'll post a notice here when the problem is resolved. David
  13. Sorry you're having difficulty. Issues of the Quarterly should be available to anyone interested. I'm away from home now but I'll check it later today and alert Laurence Abrams (Local 695 webmaster) if anything seems amiss. David
  14. ElectroVoice, I think. David
  15. To better answer your inquiry, I would be interested to know what kind of work you are doing. Is it primarily dramatic fiction or relatively static interviews? With dramatic fiction it can be very difficult - not impossible, but challenging - to make any effective acoustic treatments. Characters move about in the room and sound absorbing materials that had been neatly tucked away can suddenly be visible. I've sometimes had some benefit from rolling up blankets and putting rolls in corners. To avoid marring walls with tape, you might have to use a C-stand and gobo arm to hold a blanket roll in the corner. I'm not an acoustic expert - and much of the science seems to have a voodoo element anyway - but I understand that padding corners can introduce a break in reverberations. Interviews can be simpler. I've had good experience with folding furniture/sound blankets to a convenient size and dropping them at the feet of a seated interview subject. The thick pad stops reflections bouncing up from the floor. Using a directional (cardioid or hypercardiod) microphone will somewhat diminish reflections from walls and ceiling. But the directional microphone can't help picking up sounds that bounce from multiple surfaces and reflect back into the microphone from the floor. The pad at the subject's feet significantly reduces those secondary reflections. It's a simple plan to execute and it is more effective than one might expect from such a small effort. It's also unlikely to interfere with the camera department. David
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