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Philip Perkins

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Everything posted by Philip Perkins

  1. ....and will get better, and people will get used to the sound of it....
  2. Good test. What TC devices did you use besides the Zoom?
  3. Really? That doesn't sound like Aaton....
  4. https://www.blackmagicdesign.com/products/teranex
  5. 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.
  6. 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.
  7. 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.
  8. 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!)
  9. 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!
  10. I wish. It's a pretty specialized thing. Have you tried to contact Pete lately?
  11. 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.
  12. Wow, I guess that artist was pretty darn late! The guy would be a good teacher!, thanks!
  13. 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.
  14. In order to sell sounds you probably need to turn yourself into a "brand", like Bernie Krause etc. There are already huge numbers of huge libraries in existence, what would make yours interesting and unique? Krause went very scientific with his work, especially around changes in soundscapes over a span of many years, and identifying the creatures making the noise and the location they were recorded in with obsessive accuracy and completeness. I see a number of FX recordists who frequently post about their work, especially new sounds, on FB and YT, although most of these guys are building libraries of specific mechanical sounds. Self-promotion is the key to making this work, including social media, giving workshops, writing articles, getting sponsorships and so on. It's kind of a crowded field these days....
  15. Yes the lid in the pic is for the L/R push lock, not the rotary.
  16. Well done. You assuaged their psychosis beautifully.
  17. Best to Rob, a well deserved retirement....
  18. I hope your issue is the internal cable--it's worth taking the boom apart to find out. You mentioned using the pole on a C stand, and one issue with doing that is that the boom can easily get slightly bent if you are using a heavy mic, esp. in a Zep with some wind pressure on it. Other causes of problems are if someone tried to adjust the angle of the pole without loosening the grip head, or the whole rig was picked up and moved with the pole extended, causing the mic end to bounce up and down some. I had these issues from both my own hurry to move setups and by helpful non-sound dept crew members deciding to move the mic on their own.
  19. wow.....bummer. You saw this: https://www.sounddevices.com/installing-wave-agent-on-mac-os-catalina-and-big-sur/ ?
  20. No question that the butt-plug rig is far faster and more efficient. But as Fred says--I did miss the "real" preamp (and its limiter) on the boom. It could be that on wireless-lav-centric shoots where the boom mic is far less central to the overall recorded sound than it used to be that a boom running through the preamp of a wireless TX might actually be a better match for the wires vs. a hard wired or wireless boom using a preamp like an MM1. But I miss the direct-wired, console-preamp sound.
  21. I was on wireless boom and I had a real preamp. My boom fed a Sound Devices MM1, which fed a wireless TX with a return feed for communication. Great wireless boom sound, and a very happy boom op hearing their mic hifi and without any delay.
  22. I use DB25 gender changers on the DB25 mic snakes and stage boxes that AudioPile sells. They work just fine.
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