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Philip Perkins

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Everything posted by Philip Perkins

  1. Yeah, re: mixer-recorder: read thru the manuals and see if the extras (esp routing) are something that you would use a lot, be worth the upgrade now. For wireless, there is nothing wrong with 411s, but later wireless have some handy features, esp re remote control of TX. Do you need that?
  2. My world as a re-recording mixer includes a lot of personal, journalistic sorts of content-docs, and those folks are forced by circumstance to work alone mostly, or without a separate sound person anyhow. If they have a 2nd person, they are probably on a 2nd camera, not on sound. So we get it. And as you say, the experienced one-man-banders all bemoan the quality of the sound they can get alone and the hassle of worrying and doing it. But that's just how things are in that world now.
  3. That is my experience pretty much too, unless the peeps are in a distant room that can't hear the set directly at all. But I still end up setting the whole the up anyhow just in case.
  4. Please report. I guess the Pfizer booster will only work for people who had the Pfizer vax, or can anyone vaxed somehow play?
  5. It would only work for me if one of the third-party boxes that let you use more than 2 monitors worked with it. Have heard mixed reports.
  6. When I started there were significant barriers to entry in the post audio world, in the era of mag-film dubbers and little or no mix automation. At that time small mix rooms might have a total of 3 or 4 channels of playback max going down to a mono recorder, very limited signal processing, even more limited "problem solving" type gear like NR (remember Burwen?), tiny SFX libraries on scratchy LPs and serious noise buildup if you tried bouncing things down. A far better mix can be done today via a laptop, a DAW, and some headphones while sitting in a coffee shop. The advent of computer-based post made it possible for me to progress from tiny simple short docs to indie features and fullup PBS films while still doing a lot of production sound as well. My home studio is far more capable than the high-hourly rate dubstages of years ago.
  7. I recall this mixer, seeing it in some sort of promo or maybe @ AES? It was beautiful but we all wondered how Nagra thought it would be used. As was said, kind of not enough of anything in a lovely package. Probably very nice for some purist classical folks.
  8. Thanks--another indispensable tool from Bouke!
  9. About time! I could have used this for the last 35 years!! How about a Lectro version?
  10. They are asking you to commit to a dicey setup with no good escape path if there is a problem created by lighting during the shoot. I like the idea of converting to either line level or Dante etc before the cables enter "the tube"....hopefully production can throw some money at this issue.
  11. There are cheap HDMI disembedders avail...
  12. Yow that's alotta delay! No small delay I know of will do that much--3 sec is at the limit of most cheap old Ebay studio boxes, if they can do that! The Sescoms worked really well for me for delays up to 300ms, even when I was having to chase the delay value around due to different network latencies for different participants in a multiscreen show with "live" action. The DIT monitor rig really 3 seconds of latency?
  13. How much delay do you need? More than 300ms? For 300 and under the cheap small Sescom has worked well for me (AC via wall wart). For longer or more precise delays I have an old Alesis Quadraverb which can store the delay patches. There was the Behringer "Shark", also around used pretty cheap. But all AC powered... Maybe you could daisy-chain a couple of the Sescoms to get a longer delay (since this is for monitoring only)--and I think the wall wart is feeding DC power... But figuring out just how far out of sync you are first would help.
  14. Oh....that might be a bug, or an issue with the power circuit in that case. Did you find other complaints about this online anywhere? Such a bummer for such a handy device...
  15. Slot cameras have never been a thing for "cine" style shooting, only for news and some docs. They are ok if you will be working with the same camera a lot, but not great for a day-hire freelance soundie re: needing to adapt to multiple camera configs. I would say that of the cameras I've worked with in the past 5 years none of them would take a slot receiver of any kind.
  16. So auto-power-off is still automatic when the speaker is on AC power? Mackies have this switchable on the back.... Maybe there is a mod you could do for this? Maybe a firmware update could fix this? As good as that speaker sounds this would be a reason for me to pass on it!
  17. Ours became mostly an exhibit when the techs of the video house I worked at discovered those potted modules and refused to work on it. And it needed work, often. Yes, not great headroom, but way cool looking.
  18. For actual recording work, esp on distant locations w/o support: Nagra. For cool-factor and hipness: Stella. Ditto for the Stella mixer vs any other small mixer ever made.
  19. Gotta ask--didn't Deity do testing and have Beta users try this stuff out, like beta folks who were professional soundies? And things went ok enough that they decided to bring this gear to market? In this market the price of having a lot of failures or issues on rollout is pretty high...
  20. The poster from Deity has been pretty clear that their product isn't going to work well for a soundie who needs a batch of very reliable wireless for large complex jobs, and from that I take it that the user is expected to both do their research on the locations they'll be at (along with who else will be on the air there) and be using a small package more akin to what a simple one-person doco set up might be. The former is what soundies are expected to do no matter who they are and where they are working--that is just modern RF life. The latter is about who this gear is really designed for, ie small operators. It would be great if Deity could overcome the laws of physics and US patents in a good sounding versatile rig at this price, but they haven't. That said I am interested in hearing these, if only to recommend to my "personal doc" friends as a possible next step beyond the Senn. G2-3-4s they all use.
  21. I've done both for about 35 years, after being just a location soundie (and filmmaker etc) only for about 10 years before that. If you want to do both sorts of work you are in luck in being in Europe, where having a single sound person for both production and post is something of a tradition. In the USA that is not true, and there are many barriers to working this way, but hopefully you won't encounter them. I very much agree that working in post production audio (and being up on current techniques) really adds to one's value as a location sound recordist. As you said, it means that you have a vivid idea of what sorts of location audio problems can be fixed, to what degree, with how much labor and what the results will sound like. In the USA, in the larger markets and on larger productions there is a strong bias against people who are other than specialists. This bias is reinforced by the unions, and a sound person who purports to do both tasks is often regarded with suspicion. But since you are in Europe I encourage you to try this path if it interests you--I have found doing both "sides" of movie audio very rewarding.
  22. Try to not use wireless if you can, often there is a way to hide cables down the legs etc. I'm a fan of ORTF but that is an aesthetic choice. Super close close micing the piano can often result in recording a lot of action noise and off-harmonics if the piano isn't in really good tune and mechanical repair. You might get good BG noise rejection, but might also be making a lot of work for someone who has to remove a lot of pedal noise, action bumps, squeaks etc. These are all less of an issue in more distant micing, but then the room is more of a factor. If the sound of the live piano is an important factor in the film then a conversation with all concerned parties would bea good idea....
  23. It's good to plan on hiding inside the piano, but you may find that as the overage (or multiple cams) move around that your hiding place is eventually revealed. Thus I'd strongly consider doing what you can with the environment and trying to mic from somewhere more distant. Many musicians dislike the close-mic piano sound, esp for classical music, and prefer a more distant pickup (in a favorable room). I've had good luck getting a good performance of the piece with the mics where I wanted them and the cameras shooting around them, then letting the coverage proceed while moving the mics out of shots, figuring that the sound for those shots will be guide track used to line up the shot to my hero track.
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