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Philip Perkins

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Everything posted by Philip Perkins

  1. Philip Perkins

    Metacorder with Mojave OS

    Have you asked Mark @ Gallery? I haven't used my Metacorder rig in some time, but my impression was that he was keeping up with the OS changes.
  2. Philip Perkins

    Pro Tools Certifaction

    I've never heard of it being asked about by clients, but some post folks list it on their resumes and websites etc. It might be more of a thing for looking for a position at a big post facility, vs something filmmakers care about (or even know about).
  3. Philip Perkins

    Zaxcom Fader Motion Capture for Deva 24

    First, I want to seriously applaud Zax for navigating the EXTREMELY treacherous waters of AAF compato for both Media Composer and ProTools. Second, it should be noted that the makers of both of those apps, as well as the industry in general, have a hard time keeping that export-import working across OS, hardware and app version changes, so the work of making this new feature work in an ongoing way has only just begun. (ProTools, for one, devotes huge resources to keeping AAF working well.) Third, using this app will involve quite a bit of diplomacy, workflow testing, communications etc as it represents a decent-sized change to audio post workflow. The back end of the process, where the files enter the DAW, is a bit more complex than this video makes it out to be (especially re: overall project gain structure, track assignment and so on), so how sound editors and re-recording mixers adapt to and adopt it remains to be seen. But I am very interested in early-adopter reports from live-fire situations, it's a very interesting concept.
  4. Philip Perkins

    In ear Cueing

    Isn't a behind the ear receiver visible to camera?
  5. Philip Perkins

    Advice on selling used Location Sound gear.

    I've sold via Gearslutz, but for movie sound gear your stuff will be buried in an avalanche of music-oriented gear (same for Reverb or VIntage King), so selling either here or via the Trew consignment site has worked best for me. Trew's reach is pretty amazing--many of the people who bought my gear through them were from other countries, for instance.
  6. Philip Perkins

    RIP - Malcolm Davies, Amps, CAS

    ...yeah....RIP. Another great set of ears gone.
  7. Philip Perkins

    Recording from nightclub House AV - any tips?

    One keeps pushing for info--even to the point of doing a scout on one's own, because that is how you can get to having a well-run gig. I don't understand any notion of this being someone else's problem--if the deal goes to shit you will be blamed. If that's ok with you then rock on. It's not ok with me. I often find that extra effort put in ahead of oddball and complex gigs is the most valuable thing I bring to the party. If the house won't talk to you in advance, which happens, then you take your lumps it is true. But I would say that over the last 44 years the number of venue people who steadfastly and completely blew me off from advancing my jobs has been in single digits. The great majority appreciate the effort, whenever they get around to "taking your case".
  8. Philip Perkins

    Recording from nightclub House AV - any tips?

    Make the effort to get in touch with either the house FOH mixer or the house production mgr., that due diligence can at best get you some real cooperation, clean feeds and power, a reserved spot to set up in, a scheduled load in time and a real schedule of the performances and probably info about factors neither you or or your client are aware of. At worst you will be rebuffed or blown off, and that is important info too. FOH people who work the same venue all the time often don't want to talk to anyone involved with a specific show until close before the date--they are too busy with the preceding shows until then. But persistence in trying to find someone to talk to from the venue has really paid off for me, and quite frequently made me the best-informed person on our crew about what was really going to go down. Yes--all the adapters and trafos etc etc, but the most important factor is human contact.
  9. Philip Perkins

    Sound Cart Power Supply or Juice from G&E ??

    My secession from AC power started back when we were still often having to burn DVRAMs at the end of the day, or during lunch or etc. I had issues keeping AC power from generators etc up, the cables were in the way and for me it was just one more cable to have to run @ each setup. Being able to just be self contained as much of the time as possible was a habit I got into and have stayed in. For sound gear that really wasn't designed for movie work I have to have AC, no way around it. If you have good relations w/ the Electric Dept and they are taking care of you then blessings on them and props to your diplomatic skills. For me, the default position I've arrived at over the years is that if I want to have power, rain shelter and so on I'd better be prepared to deal with it myself.
  10. Philip Perkins

    Sound Cart Power Supply or Juice from G&E ??

    For bigger rigs, like on music type gigs I use AC as I can find it (in consultation with the Best Boy electric if there is one), with a surge protector and a UPS. All my other rigs are DC only--all-battery/all the time. I hate dealing with AC.
  11. Philip Perkins

    Sonosax SX-R4+

    Good for you and good for Sax. There are some issues that really require a lot of persistence to track down.
  12. Philip Perkins

    Bag harnesses and proper grounding techniques

    You do have to be careful of the ground or "cold" lines of the system you use to distribute power your gear. In the past that has been a source if RF and TC issues between the components of a bag system.
  13. Philip Perkins

    Leaving the USA to live and work in the UK

    Pinknoise has been great when I've bought from them, as an overseas buyer. Very communicative and clear.
  14. Philip Perkins

    DIY RX Emergency Two

    Back when it was my main axe, I was very happy that I could do so much in such a small lightweight package (with my add-on box), instead of using a much bigger and heavier 442. These days the 302 is a very handy thing to have in the shop, for testing etc, and is a great hail-Mary box to have on hand for music gigs or as the front end for a prosumer computer interface.
  15. Philip Perkins

    DIY RX Emergency Two

    Way cool. For many years I used a 302 as a 5 input mixer all the time with a similar gag. I made a box with captive cables with right angle XLR-F ends to use with two RX that fed the 302 "return" jack configured as two extra inputs (using the little side-mounted controls as rough trims), and with just simple audio taper pots for attentuation of the line level signals from the RX. In the same box I added my own camera return switcher, that looked at the camera output or at the headphone jack of the mixer, with settings L/R/stereo/off, thus my headphones plugged into this box for monitoring. All in a box less than 1x1x3". I was pretty darn proud of myself, and used that thing until I stopped hardwiring to cameras and retired the 302. Yours is more kosher than mine re: resistors, but for use with wireless RX outputs exclusively I never had an issue. This is a great illustration of how deep the venerable 302 is--amazingly powerful while being so small.
  16. Philip Perkins

    Lectrosonics SMa “boiling”

    Tried other mics? Clean contacts?
  17. Philip Perkins

    Lavaliers and Cell Phone Interference ???

    Here in TechTown there is kind of no point in asking anyone except the on-camera talent (maybe) to shut off their phone. The best I can hope for is "airplane mode", but anymore people want to keep right on texting etc so all I get is "ringer off" and the volume down (some). Thus I am surrounded by working phones while using wireless gear for talent mics and for camera hops. Since nearly all the phones in use are at least several feet away from me, the talent and the camera (usually) I've been doing ok in this regard. (Lectro+SD, but using the G2/3s for hops).
  18. Philip Perkins

    Mixpre-10t - Talkback mic

    Good hack.
  19. Philip Perkins

    TC cable

    You people making your own cables with Lemo connectors.....are better people than me. After years of struggle with the Lemo connections for my early wirelesses (Vega, Swintek) I decided to let folks such as yourselves make them for me, for which I pay handsomely.
  20. Philip Perkins

    Lavaliers and Cell Phone Interference ???

    Unless the crew phones were right next to your transmitters or your receivers, like really close, it's unlikely their phones were the source of all your problems. However, if one of your talent folks had their phone hot during your shots and it was very near their transmitter, you could definitely have hits etc from it. Otherwise--the usual suspects: some other transmitter working close by, some sort of electronic device working in the space (like installed lighting control), close-by walkie talkies, etc etc. Since all these (and other) sources of interference take time on the set to sort out, I feel your pain. I hope you got it all figured out.
  21. Philip Perkins

    Sound Devices new firmware - w/ Auto Mute !!

    It can happen that on noisy locations or very long lens shots the director wants to hear thru their headset all the time, but the standard LA thing I've mostly encountered is what was said above: if the director's headset is hot then they assume all the agency headsets are hot too, which they very don't want (will sometimes flip out over, etc). The former situation would be pretty rare and easily explained on the day, the latter seems to be SOP, and expected to happen without the PSM being told to do it.
  22. Philip Perkins

    Red, again

    On "it has the Red" shoots I try to get the camera folks to find a fan setting the camera can live with thru the whole interview, so the sound is consistent, and thus easier to grab and deal with in post. As a sound editor changing BG, even if there are quiet bits, is a bigger prob than a constant one.
  23. Philip Perkins

    Sound Devices new firmware - w/ Auto Mute !!

    SD has added to the 664 features over the years via firmware. But not being a digital mixer means it can't have purely digital features like automix. On the other hand it does do a few things the later 6xx machines can't (mix bus or "cascade" input, for instance).
  24. Philip Perkins

    Sound Devices new firmware - w/ Auto Mute !!

    You could give them a choice: crickets, Getz-Gilberto, or maybe gently whispered messages of affirmation....
  25. Philip Perkins

    Favorite Mic to use for Interior Situations?

    Cheap is cheap, but the Oktavas are famous as bang-for-buck gear in the pro audio world. If you get one that hasn't been abused and compare it head to head with a Schoeps you will probably A: like the sound of the Schoeps better and B: be amazed at how close the Oktava (MC012) comes to it--quite respectable! I have a brace of MC012s of various vintages, and while they are never in the first batch out of the mic case on a gig they do get used for sources of lesser perceived importance and do a great job. But not on a movie-sound location fishpole.