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Philip Perkins

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About Philip Perkins

  • Birthday 01/01/1

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    Earth
  • About
    Sound of all sorts
  • Interested in Sound for Picture
    Yes

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  1. This is (still) Jeff's party. He gets to say what he wants to.
  2. A slight breeze or even a decently stiff wind isn't my enemy: like any pro sound person I have zeps for the mics and sandbags etc for the stands. If need be I tie off the stand and the boom to something heavier. This goes for outdoor music recording too.
  3. That sounds like a documentary. Which is kind of what a lot of us do?
  4. That was an 8-in 54xx-series mixer made for radio work (that could run on DC). Big sound, but as they aged they needed a lot of love. By today's standards they were pretty noisy.
  5. For a freelancer, a late fee is a nuclear option, just short of threats of small-claims court. To most people, especially honest ones, it will seem like an attack. I found it better to be a little patient and try phone calls and emails in which you leave them an opening to apologize and pay up, even if maybe they were really intending to "age" your invoice some? It's good to make them understand that you are paying attention to your outstanding invoices and that you mean to get paid in good time, but it's also good to start out with politeness and not threats of penalties.
  6. Are your wireless RX in a remote rack? Monitor TX?
  7. And of course those sync issues are the sound dept.'s fault, right? In this sort of situation I gently remind the posties that my audio files were recorded vs. a very accurate and very consistent clock, so your sync issues must be caused by the (gasp!) camera?
  8. One of the nice things about being an independent location sound recordist is that usually you get to build up your own working rig anyway you want that you can afford. So if you want to use pres like those mentioned for location dialog work, build up a system, deploy it and tell us how it goes. As has been said, most location soundies would prefer gear that is lighter, smaller, less power hungry and less expensive than a vintage pre, where you are paying a premium for the name and rep. Location soundies have so much gear to buy that studio folks don't have to deal with, especially wireless mics, monitoring and time code gear that most would prefer to not sink so much money into name-brand mic pres. The other issue is that a whole lot of on-set mic booming is done via wireless anymore: there are huge advantages in mobility by doing this, but that would let out using this sort of pre. But if you can manage it on your jobs--have at!
  9. I was wondering if anyone using a Yamaha DM3 on a cart was powering it off 24VDC, and how that is going? I would only need to do this occasionally, so I was wondering if a 24v camera block battery might work for this (rented)? The manual says it draws 43w @ 24vdc....
  10. DM7: what they have instead of CL and QL. Venues I work at with those are looking harder at DM7 than Rivage right now. Those working with DM3 dante or no--are you able to use USB (or Dante) to get input into channels 17-18? Like via a USB interface box? Have you tried making a Mac aggregate device with the DM3 and an interface to ProTools or Boom Recorder or etc?
  11. Quite a few years ago many talking commercials (ie with actors and/or "real people") became essentially very expensive documentaries, at least in the way they are shot. So the verite doco techniques for sound pertain, although unlike on a doc the soundie will have full camera, G+E, props, art, etc etc depts to contend with. Also unlike a real verite doc those other depts will not feel obliged to do their work quietly.
  12. There are many directors for whom 50-50 is a way of life, due to their aversion to the call-and-response between AD, sound, camera etc and then slating. A few I worked with explained their reasons, and I understood them in terms of vibe management and the like. The good ones understood that work still had to go on, so they would engineer breaks in the action to allow this. Then there are the former art directors and reality TV types who don't care and basically want sound to never stop rolling ever, file organization be damned.... The gigs for the latter type were tough--I was often working solo, so didn't get a lot of breaks (to rest or to catch up on notes). On these I hoped that maybe the prod co was smart enough to have an assistant editor doing on-set syncing, so if we got really bolluxed on file naming we could at least glance at the files together...
  13. "once you get to know the Origin C+ (which is not overly intuitive to use). " That is an understatement...
  14. Could this be a prototype? I also have never seen or heard of this rig. Is it possible that Aaton made it by request for a specific project? Ivan K's Coherent Communications TC generator used a similar bolt-to-the-bottom idea, but had nothing like the Origine C control available for it. I'm guessing this rig might be from the late 1980s/early '90s, vs the Coherent rig being several years earlier...? Where is this thing? (The Nagra it is attached to looks pretty unscathed, which makes me think it could be a prototype...)
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