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Philip Perkins

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Everything posted by Philip Perkins

  1. Have you checked in at the Gearspace Remote Recording forum? There you will find people who are doing work more or less like you describe, vs dialog recording on location for films, which is very different work from remote recording of music. In general thre are many more good solutions to what you want to do than there are for film sound work. If you have the money and know you will not need to expand into higher track counts I think Sonosax is a great way to go. But I find that in in remote music work the channel count has a tendency to creep upwards as the gig approaches, so leave yourself a way to accommodate those late adds.
  2. I have an operational slate that was sold to me by Mike Denecke himself in the 1990's that has been dropped (and thrown) innumerable times, survived years of air transport, was drowned in seawater at least twice, worked in rain, mud, dust, arctic/snow, jungle/humid environments and is still ticking. I wish I had survived all those shoots as well as my old slate has. That said please report on how well the Deity slates hold up in real world use.
  3. That's a Pilotone machine--maybe he did film sound too?
  4. My gear package is now much smaller than it was, and for one gig recently I needed to get more radios onto my antenna set up than I had "holes" for (only 4). I used my back up antenna rig, with one set of 4 being on the Venue and the other being on my old Ramsey dual LPDA fins. Noticed no diff in range at all.
  5. Yes they are, and production needs to understand this. It's bad enough that I have to allow actors to mess with expensive wireless TX and Villagers to drop, mess with and lose expensive IFB RX. Lav mics are subject to all sorts of stress when on talent, and eventually they will break. That is predictable and production needs to pay for that breakage the same as it does for camera, grip, electric gear props and etc.. I make clear that over a long job there will be lav mic damage and it will be billed to them.
  6. In truth lavs are a "consumable" or, in movie parlance, and "expendable" in our biz too.
  7. So if the FOH sound guy is recording everything off the QL5 and his RIO to Dante in multitrack, isn't the gig now covered? Or do they want redundant recording? It sounds like the FOH guy has made the mic choice and the client has bought off on that, so off they go. I'd be a little concerned with sync with the FOH guy's recording, like can his PT rig take TC from video? If you want your own recording you could take a Dante feed from his Rio to your own computer, and add hall and audience mics if that guy isn't doing those, as well as video TC.
  8. That'll work if what you want in the rears is a reverbed version of the LCR. Do you want reverb on the music all the time? Are you trying to make it sound like the audience is in a concert hall?
  9. Wait--you got the screaming and they complained about the low bits within the same take? I'd file that in the "Ignore" folder.
  10. This number of inputs is more easily handled by a real console (vs. a stack of portable mixer-recorders). My pref would be Yamaha (CL/QL) since they can have real Dugan automix cards in them. You seem to be in SoCal so there is a lot of rental gear available. (There are other mixers with various sorts of automix too, most of us here prefer the Dugan.) I'd record out to a laptop via Dante--that would give you as many tracks as you need. To get that many people on lavs in a reasonable amount of time you will need skilled (ie real pro A2) help, as was said, ideally 2. 20+ is a lot of wirelesses to manage, I'd be asking if we can go hardwire. I'd also be asking if they can live with neat small lav mics on the outside of the actor's clothes (since this is an obviously artificial situation, not pretend-real drama). You'll still have to give them a wardrobe-choice lecture, since it is likely the talent will be wearing their own clothes.
  11. When I used to use one of the "big" Kensington balls all the time (with a ball the size of a billiard ball) I would often have to take the ball out of the cavity, clean off the rollers and dust the thing out. The ball picks up grease and dirt and dead skin etc from your fingers, which gets on the ball which then transfers it to the rollers. See if a good cleanout helps you.
  12. Most composers I work with only deliver in stereo--having them deliver in surround opens a big can of worms as far as the involvement of the director and how they monitor in the music mix, unless they are working after the sound cut and a premix. I've had composers deliver to me in quad (no C) and in 5 channel, but these were very technically proficient people who understood the process and knew how to make surround work. If you think your composer can handle this without making a lot of extra work for you, then ok. If they have not done this before then no, just stereo (and I will upmix it to suit the mix I'm making). There is also the matter of what they have been contracted to make: a good 5 channel mix is harder to set up, mix, and render out than a stereo one, thus more time. For many films there is really nothing to be gained by the composer working in 5 channel, especially if the rears are just reverb and reflections. It is more efficient for me to upmix stereo to suit what we're doing with dialog and fx.
  13. I really would not do this unless you are truly desperate and are ok with accidentally bricking your mixer...
  14. Atmos has some very reasonably priced TC boxes that can talk to (they say) cameras, phones, monitor-recorders etc on blutooth, without cables. They also have a TC box with "mini DIN" connectors for TC (Yay! Yet another esoteric TC-camera cable type!). Has anyone worked with their system? It includes video recorders that automatically upload to the cloud on stop, and editing app, etc etc. Impressive to me if it all works...!
  15. I guess I'm assuming you don't want to pay SD's service fee? The 302 is a tight sandwich and its really easy to break stuff in taking it apart if you don't really know how it works. I had bad luck trying to fix an old MixPre many years ago for the same reason, they were made the same way. It ended up visiting SD....
  16. I have gotten away with normal XLR mic cable or even 75 ohm video cables (with BNCs) for really short jumps. For an upcoming show where I need runs from 10-20 ft I'm going to use 110 ohm XLR cables spec'ed for AES audio use.
  17. Waste Management are gangsters. Go Urban Ore!!!!
  18. If you work in any DAW other than ProTools ever AAT is an absolutely mission-critical app.
  19. They all sound fine. But this isn't the way to judge them. In any case these instruments are show pieces, made to impress and be looked at, not intended for continuous playing by professionals. I'll take a plain old Fazioli in a great hall, thanks, not an office building lobby.
  20. Shame is your only weapon unless you want to hire a lawyer in their country. Did you meet their client or funders? Get any names etc? Letting them know that your client has some very shady business practices has worked for me in the past in this sort of situation. Also showing up at their place helped too, if any of them are close by.
  21. Some edit systems now only make AAFs (Avid, Resolve, X2Pro w/ FCPX), so you have to kind of live with them. In recent times OMFs (non-embedded) seemed to work the most reliably with Premiere, but AAFs have been ok too. As always since the beginning of exports, the quality of the result has a lot to do with the skill and housekeeping of the editor. A good tool to have around is AATranslator, which can work with problematic exports that no DAW incl PT can open.
  22. FET does good work. They helped with my DATs as well as many DTRS machines back in the day. Glad they/he is still around. PS he would work on ADAT machines too.
  23. I would say that if you are mindful of sound while you are shooting (ie with headphones) you will get some useable audio. But going into a maelstrom like Carnival is a fraught thing, in my work as a location recordist in these kinds of situations part of my job was to watch the shooter's back and be their eyes all around. This was not only for dangers, but also for shot opportunities that they aren't seeing through the camera. Yes, I could also do much more detailed sound recording than you can get with just a camera mic: wireless lavs on people being followed, my boom mic following action that was both on and off camera, wireless feeds from a music stage sound board and so on. But really consider at least getting SOMEONE to be with you to spot you: you are very vulnerable when your vision is limited to the viewfinder.
  24. That is a bummer and will eventually bite you if you use the different polarity mics in the same scene, and the actors end up speaking close together. Is it possible to change the polarity of the DPAs?
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