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Philip Perkins

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Everything posted by Philip Perkins

  1. Philip Perkins

    Why AES camera feeds for prod. sound?

    Help an oldster with this: why use an AES feed to a (newish) camera instead of an old-school balanced analog line feed? When you hook up this way are you listening to a return from the camera, which I assume would be unbalanced analog from a headphone jack? Or is that not true? It seems to me that all the issues I've ever had with analog line feeds to cameras have been with the unbalanced returns picking up crap, not the balanced feeds going TO the camera. Is AES something you use with wireless hops to cams, to help avoid the cables from the RX to the cam input picking up crap from all the focus/video etc gak on the camera? Thus you are using RX that make AES outputs? thx
  2. I applaud you for taking this into your own hands and making a not-great situation where no-one helps you much into your own hands. I actually think this IS a good forum to ask these questions on--it's true most of us don't do weddings or magic acts much but we we DO deal with situations in which no one else present understands, cares much about or is very willing to help us solve our sound problems, so I think you might get some good advice. What you propose seems ok, but you should be ready for possible RF issues when flying that many wireless mics at once. The wireless mic world has had its spectrum real estate shrunk a great deal lately, as it has also become FAR more crowded. Learn how to scan your locations and have a plan for changing your freqs when you encounter interference from other users. Notice I said WHEN, not if.
  3. Philip Perkins

    Sports Headworn Microphone

    Some small advice: if these mics are for singers you need to do better than headworn mics sold for PA use with corporate presenters etc, ie talking. Strong recommend for DPA for this.
  4. Philip Perkins

    Mercedes Metris OR Chevrolet Express 3/4?

    Also--you can always sell a "work" type van when you want or need to, even if it is poor condition by the time you sell it.
  5. Philip Perkins

    Mercedes Metris OR Chevrolet Express 3/4?

    The Metris is really so fussy that you have to have alignments done with a load in the car, even the driver's seat? That sounds like something a high-performance aircraft would require, not a freight hauler. I know a few happy Metris-dudes around here--they tend to be people who have really brutal commutes so I can understand them wanting something nice to drive.
  6. Philip Perkins

    Do you really work alone on a fiction feature film?

    This is kind of the point here. In the indies I did, mostly alone, I always asked for help, right from the very first one. Almost always the answer was no if that help had to be paid anything at all. So then you have to decide if the experience and credit and what money they do have is worth it for you at this stage in your career. There is much to be said for taking the pain of doing this work--for a young soundie it is how you can form relationships with other up-and-coming crew people and filmmakers, and establish a rep for yourself as someone who can deal even in very difficult circumstances.
  7. Philip Perkins

    SD 633 question channel 4.5.6 issue

    I can understand that to someone coming from outside the regular video production sound world the config of the SD 633 would seem very odd: mic pres on only 3 of 6 channels, funny small knobs for 4-6 with menu trims and pan etc etc.. But that is sort of the point--a 633 is a very specialized tool, the result of a lot of experience in making field recorders and input from working location dialog recordists about what they really need and what they don't really need. SD's manuals are very clearly written, and if that doesn't doesn't work you can always call them on the phone and they will walk you through the functions you aren't understanding.
  8. Philip Perkins

    cycling to work

    In the pre-internet (and pre-fax) days bike messengers were thick on the ground in SF. It was a lot of people's first job in the city, there was plenty of work and it was very tough. No bike lanes, lots of hills+fog-slick streets+construction, drivers far more clueless than they are today and a big part of the southern part of the city was still criss-crossed with railroad tracks running on many streets and across intersections. I rarely see bike messengers in SF these days...
  9. Philip Perkins

    Credits

    I'd say it was the Emmy board who were the jerks. A union insisting that a "recordist" is only someone who operates a magfilm or multitrack etc recorder or a producer who gets shirty about what their location sound people want to call their jobs is jerky too. Everyone involved knows who does what, and often even a job that is "one-subject/one mic" is much more complex than the number of record channels in play might lead someone who was not involved to believe. IMDB needs to update their list of job titles.
  10. Philip Perkins

    CEDAR DNS2

    It's a great thing for anything going out live. For recordings, it's best a to leave post a way to work with the unprocessed files.
  11. Philip Perkins

    Do you really work alone on a fiction feature film?

    It happens all the time. Have done it, it was tough. Usually very low budg, produced by newbs. Good opportunity for a newb soundie, even if it is very painful you will learn a lot of things. If you are not a newb, ie are doing sound for a living: not worth it at all unless you are married to the director.
  12. Philip Perkins

    This reminds me of my previous life, minus the Pro Tools

    He's got the uniform: Hawaiian shirt (because that's what engineers wear, right?) and shorts (because it was really hot under those consoles). That studio had the fate of studios in all cities anymore--not enough income for the real estate they occupy.
  13. Philip Perkins

    AATON Cantar Mini VS. Sonosax SX-R4+

    I don't think the Cantar mini needs a cart unless you want to use a cart. Lots of people "bag" the full sized Cantar, and the mini is much smaller than that.
  14. Philip Perkins

    Treatment in production

    There was a time when production sound people were semi-stars on the set due to the limitations of recording technology available then, that time is now long past. Currently-working production sound people have to be just as humble and willing to compromise as any other crew member south of the DP, and understand, as was said, that the right people will appreciate their work eventually (most of these people will not be on the set) and probably no one else will, really.
  15. Philip Perkins

    HN-7506 or something else

    I guess I should re-up and retire my old ones, esp if the newer model is more comfortable for fat-heads like me! I've never been crazy about the 7506 sound (esp comp to Senn) but I have so many hours under them now that change would be pretty disruptive, and I like that these are the same drivers as my normal headphones. For those who must have Senn drivers, you can roll your own pretty easily--I still have a set I made from similar hearing protectors to what RA uses that I mounted Senn drivers in, it wasn't that hard to do, but of course then you are on your own for repairs and parts.
  16. Philip Perkins

    You & #MeToo

    I'm trying to picture a less cowardly person in our biz than you, and failing at it. Maybe you just wanted to be a successful working PSM, but life and history have thrust other roles on you. I say you are doing great at all of it, and thanks!
  17. Philip Perkins

    You & #MeToo

    Serious art can do wonderful things if the artists disregard the "art-museum-dealer-donor-sales" complex and do their work. As usual, if an artist wants any sort of financial support for their work, they have to deal with the current-day Medicis. I think bearing witness is exactly that--getting "witnesses" (listeners) to share in the story so it can be better "borne" by the story's teller-owner. Telling the story is only a partial relief--it can't heal anyone or undo what's been done, but it can make life with that story/history/hurt more bearable. That's why people do it, I think. There is the great passionate hope that someone will hear a story and the next time they see themselves in a mirror realize that they own a piece of that problem, and fix it. You only need to tell the parts of your story you want to tell. That story is yours to tell or not as you please, how you please. My daughter made this extremely clear to me--she was not to be questioned or importuned on her experiences, she would tell them in her own fashion in her own time, as she felt she needed or wanted to.
  18. Philip Perkins

    In ear monitors for production sound

    So--question: is the reason on-air broadcast talent use the old-school Telex style buds with the nickel-sized driver and the curly clear plastic tube because that system transmits less cable noise to the ear?
  19. Philip Perkins

    You & #MeToo

    I agree about art and poetry but I feel like our real story-telling geniuses need to be figuring out a way to configure the stories people should hear in a way that won't have them "changing the channel" right away. What induces people to listen to stories that they don't very much want to hear, because they might have some closely held assumptions, if not their very identity, questioned? I have to say that the avant garde and serious art etc aren't helping a whole lot with this at the moment, in my opinion. It may be that you folks laboring away on episodics that are the ones that have the only real opportunity to address these "stories" to the audience who should be hearing them. I think the image below is a great illustration of the concept of "ambient rage".
  20. Philip Perkins

    You & #MeToo

    My exhibit "A" for all you say is my own daughter. PTSD from some very bad experiences = ambient rage, all the time. She is a brilliant creative person, but as you say, enters every room with her fists up. I have to say that that entry mode was a hallmark of my boomer-generation in the biz, but I'm glad to report that the many of the crews I work on these days (with the rest of the crew less than half my age mostly) are not like that, and seem to be conscious of trying to not be that way. Go, millennials, I say. Swallowed rage is addictive and terribly destructive to one's health. How to release it without causing more rage? Story telling seems to be the best way, when there are people willing to quiet their minds long enough to really hear the story. Thus, my daughter tells a lot of stories. It's not going to be easy at all, but there needs to be a lot more listening than there has been in the past.
  21. Philip Perkins

    Noisy Environments

    Then you have to get editorial on the phone and find out if they are down with what you are doing or if it's a waste of time. If it's the latter then they need to call the producer and let them know about all the ADR that's in their future.... If the producer is ok with that then...."SPEED"!
  22. Philip Perkins

    HN-7506 or something else

    I guess mine are oldies!
  23. Philip Perkins

    Zynaptiq plug ins

    I also wish makers of plug-ins would: A: focus less on sexy-spacey GUIs that take up way too much screen space, B: not force me to down load 50 of their other plugins plus their shell to get the one that interests me, C : name parameters something that reflects their function and not some abstract engineering concept or marketing-speak.
  24. Philip Perkins

    HN-7506 or something else

    I use HN7506s all the time for location music recording. They make it possible to have at least some accurate idea of what I'm getting while being in the same room with the music, and were a big improvement over my home-made "aircraft-hearing-protector-with-cannibalized-Senn-drivers" phones that I used for decades. But...if you have kind of a large head, the HNs can get pretty uncomfortable over a long set, your ears get pretty warm inside those enclosures and they are not light (they also do not have the usual Sony convertadapto-plug--1/4" only). So I am kind of down to try some in-ears. I rented in some Shures for the players in a show I worked this spring, they were far from the top of the line but sounded ok. I like the idea of topping them with (comfortable) construction-type hearing protectors, and as was pointed out, you will never get correct bass-freq monitoring in a close-in music monitoring situation with any sort of headphones...that's why "recording trucks" were invented. (Remember those?)
  25. Philip Perkins

    Sound Report Writer app

    Or Wave Agent...?
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