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Philip Perkins

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Everything posted by Philip Perkins

  1. I've had the opposite experience about "box rental" with PR companies, including on a very big show this year, so go figure. I just do what they tell me to do. It's important to get productions to properly credit you, or to credit you as you wanted to be credited, more like. Lately I've noticed that the title "sound designer" has become an acceptable and listed title on IMDB, whereas before it was a non-category that threw up flags, so these things evolve. I do think it is important to patrol IMDB etc and make sure you are properly credited on the shows you work--you can't count on the prod co to get it right, or even credit you at all, really.
  2. On USA union production jobs the head of the sound dept. is referred to as the "Production Sound Mixer", whether they are actually "mixing" any audio or not. I often refer to myself as a "Location Sound Recordist" when on simple jobs with only one or two channels in record, but that is a personal choice. IMDB accepts both PSM and "recordist" titles without question, in my experience. My personal choice of title has to do with the complexity of the location sound recording on a given production I've done, including whether or not I had a crew to manage (vs one-man-band), and was I doing any mixing that might make it into the final version of the project (including live-mix jobs for streaming shows etc)..
  3. It depends on what you want to record. Do you need 4 mic amps (vs 2)? The other input channels/tracks of the Nagra? Is the size of the Nagra vs the 744 ok with you? The cost of its accessories? If you like the Nagra sound and operations and have the $ then why not? No you won't get a lot of $ for your 744 anymore, it might be worth more to you to keep as a backup or for extra record channels (since it can take WC+TC from the Nagra).
  4. 416 is not my fave for anything. However, it absolutely saved my ass several times over the years, re: bad RF and moisture. That's reason enough to keep one around.
  5. Yes, it used to be that the 2 mics you saw in pro VO studios all the time were a U87 and a 416--it was assumed that you had these in addition to anything else you might want to try. Speaking low directly into a 416 very close is the "sound" of a lot of famous male voice actors and VO artists. ("ONE MAN, ONE WOMAN.....IN A WORLD WHERE..." and so on.)
  6. The choice of boom mic. esp. for interiors, is one of the most personal (and consequential) choices a PSM will make about their gear. That mic will really define your "sound". I encourage you to take the time to try out every mic that interests you in the sort of situations you encounter. Re: the 416: there is a reason why it has lasted so long in the kits of sound people the world over. It may not be your #1 choice, but it always seems to "just work" pretty well for anything, is very robust and very RF and moisture-immune. I like having one along on every job I do, even if it gets deployed only once in awhile.
  7. The arts org I work for just bought a 14" as a new touring machine (audio and video playback mostly). It's a lot heavier than the old Air it replaces but it means that they can tour with good size video playback projects at high resolutions and not just be hoping each local venue can deal with their files. The built in HDMI port sealed the deal for the check-writers.
  8. Don't hold back, it's bad for you! Spill it! For context, the operatic feature I worked on last summer used free-run TC generated by a master clock/recorder (SD), that jammed a set of small TC boxes (Moze) that were mounted on the cameras (Venice) along with a wireless RX that was receiving playback audio, feeding an audio channel of the camera. TC slates had playback TC transmitted to them from the playback project, that computer's ADAC locked to the same master clock. 2 hr plus movie, 5 week shoot, all was well.
  9. Maybe in some context, but usually the editors prefer a guide track sent to the camera audio track from playback. Slate playback TC tells them where in the music the shot starts, the guide track is a syncing guide.
  10. Yes to all this. Soundplant works equally well on PC or Mac--I have it on several of both.
  11. A major take away for everyone regarding this terrible incident is how fast the discipline and attention necessary to work with weapons on the set can break down in the face of movie-expediency and schedule-worship. The AD had a bad case of AD-disease: a strong belief in the necessity for them to push the shoot forward at maximum speed and at any cost. I have worked with many ADs like this, who, I decided, not only didn't care about crew or even talent welfare a whole lot, they also didn't really care much about the quality of the scenes they were shooting. They cared about "making their day" and then some, if possible. To this sort of person, any sort of delay for any reason is an affront that must be immediately steamrollered. Inexperienced crew people are rarely able to stand up to this kind of onslaught, so poor decisions snowball into very bad situations very quickly.
  12. In the 1970s the production company I worked for had some customized David Clark headsets that had had Sennheiser drivers put in them, mostly for concert type shoots. Later I rolled my own (2 pair) with more generic aircraft hearing protectors and the same Senny drivers--they were ok. The Trew version, esp the later model, is better than all of these. More comfortable too. However, after a long concert I am counting the minutes until I can take the damn things off....
  13. To the OP: once again, no good deed goes unpunished. Many of us have found that when you work for little or nothing the people you are working for end up not valuing your time very much. Many newbie shoots devolve into a sort of inefficient party atmosphere, or like yours, get bogged down in a host of issues the filmmakers didn't know even existed. You can teach them (if they will be taught) but not at the expense of your health, gear and extra time. There are some jobs that are not worth doing, is the truth.
  14. You mean word clock? Yes--you could use 2 of them together as a multitrack recorder thus.
  15. A big yay for bringing back an HDMI port and the SD card slot. I wish for an old-school USB A port too but that probably is just too retro for Apple anymore (and doesn't sell any dongles). Also yay for NOT removing the headphone jack (you know they wanted to right?) and ditching the weird bar thing in favor of usable function keys. The intro spins this as bringing something new to Mac laptops, but sorry, I have the old machines to prove that Apple is putting this feature BACK. Whatever. Too spendy for me right now but my clients will get these and things will be easier for us both vs the previous gen Mac laptops. The SD card is really helpful for THEIR computers to have on small jobs sans DIT.
  16. The death of Halnya Hutchins on the set a few days ago made me recall several scares and close calls I had around guns on films over the years. Guns have been a part of movie making since the beginning, and the procedures for working with them safely have been around for a long time. As with "Rust", my bad gun moments were all on low-budget/high-ambition projects.... Anyone else?
  17. Good luck with iPower here. On the movie I did this summer we had a lot of 9v powered RX (411) and TX (various) and ended up pressing some pretty old iPower rechargeables into service in a pinch. They worked quite well and charged back up pretty fast. We had 6 or 7 4 slot chargers going all the time.
  18. Eneloops have been great--even batteries much used and several years old will still work all day in devices like G3s.
  19. https://360systems.com/products/instant-replay-2/, I used to see these on broadcast trucks for sports particularly. https://www.triggerplay.co.uk/ One of the few that will run on PC QLAB on mac only, although this works best when you have a defined show order. A personal fave: Soundplant. https://soundplant.org/ Any sound loaded to any keybd key, in any order, multiple trigger, some SFX, random access...
  20. I usually found it best to get the raw connectors and make my own, so I could have exactly the length I wanted. This is especially true for cables that will be used on a camera or in a bag-rig. Trew sells those connectors in 1s and 2s if you want, I'd guess German retailers like Kortwich do as well.
  21. The SD guys built a really successful company, in terms of industry acceptance and the high regard professional sound people hold their products in. It seems like most small companies eventually sell out to conglomerates, for many reasons we could all think of. I'm pretty sure the SD guys made keeping their current level of quality, innovation and service part of the deal, and the other brands Audiotonix owns are pretty high-end. What will now get made (and serviced) where we'll have to wait for them to tell us--I hope they keep as much of that as possible in the USA! In any case I wish them well and Jon Tatooles Godspeed!
  22. I contacted Pete about service for some mics he converted. He said he's not currently doing conversions due to family/health issues. I wish him well and very much hope he can get back to work soon both as a mic tech and as a working production sound mixer.
  23. The 400a is still a great transmitter and very reliable. Kind of big for drama work now--you may get some looks from talent used to newer smaller sleeker TX, but they still work great. But...no sexy remote features... One of the best deals going from Lectro were the LMa TX. Just as chunky as the 400a and without several features of same, they worked pretty much as well as those for me at a far lower price.
  24. I sure hope so! I have 8 of his and a 416 from him too!
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