Philip Perkins

....and will get better, and people will get used to the sound of it....

Good test. What TC devices did you use besides the Zoom?

Really? That doesn't sound like Aaton....

https://www.blackmagicdesign.com/products/teranex

What kind of work do you do? How many tracks do you need? What other features like Dante, outputs etc are important? How do you deliver your files these days? I bet with a good dose of checkout and service with a qualified tech the old Cantar will sound great, so you need to decide if it fits the sort of work you do now and the sort of work you want to do in the future.

The actors usually don't mind hearing themselves if the mix is such that they are way lower in it than the incoming feed. In fact I found that some of them were made nervous if they could NOT hear themselves--it made them think the system wasn't working or that the director couldn't hear them.

Good ideas! So I can transmit TO the Control Pack with any of many diff existing TX, and the Control Pack then re-transmits the signal to the earpiece? That's a good way around the limitations of BT range on the set. Hiding both a mic TX and the control pack might be a bit of a challenge with some wardrobe, but being wireless the CP could be in a purse or bag or coat pocket or on an ankle etc (or even on an extra standing nearby) I guess. I have to say that I think a shot in which the camera sees the side of a short-haired actor's head with the earpiece in that ear will probably result in some VFX fixes, but it's possible they'd be doing those anyhow. The 2-earpiece charger thing is very cool. Well done.

Over the years I did many hour+ takes, much to the chagrin of my boom ops. This included one-take movies as well as the shooting of live-theatre works. "Real" ie trained actors can do this, like they do every night in theatre. What makes this kind of thing amazing in movies now is the difficulty of getting great location sound during all the talent, camera, prop and G+E moving that would be happening during a long take, plus all the location issues, even on a sound stage. Really long takes are tough for everyone, but I think they are toughest for the sound dept. (See Ursa Straps interview with Kiff McManus, the mixer of "Boiling Point": 34 speaking parts inside and outside a large location set with 3 working kitchens for 90+ minutes!)

Not enough.

And we oldsters thank you for the backwards compato.....!

It looks like he has made a very nice looking 8 chan trafo mic pre based on Ashly designs. That he was a boss at Ashly in their analog period speaks well of him to me!

I wish. It's a pretty specialized thing. Have you tried to contact Pete lately?

I do the audio post on a lot of docs shot by the directors themselves, alone. I'm not going to tell you how to shoot your film, but I can tell you that working this way makes for considerably more work needing to be done in audio post to get to a soundtrack that will pass network tech eval, there are always many issues that cannot be properly fixed no matter what we do ("must have" moments), and the overall quality of the soundtrack is diminished. The problem with the latter will not be with viewers who are very interested in the content of your film, the problem will be with everyone else, who will find themselves less likely to stick with watching a film that is hard to listen to.

Wow, I guess that artist was pretty darn late! The guy would be a good teacher!, thanks!

Did you send audio to the camera (or have the camera mic on) during shooting? Does the camera audio track match your master? My guess is an import issue into PP during the 2nd round, like PP thinks the new audio is @ 23.98.