Jump to content

Philip Perkins

  • Posts

  • Joined

  • Last visited

  • Days Won


Everything posted by Philip Perkins

  1. You could try an AAF export from Resolve. I've had mixed luck with these but worth a try. A great tool for helping with exports is AATranslator. https://www.aatranslator.com.au/
  2. Very common in TV news conferences etc back in the day, and used as a boom mic on Fisher and Mole "perambulator" booms for TV shot on stages for many years.
  3. This. It used to be that a "25" was a "25" no matter what film camera it was on, so you could develop a feel what what the "cone" of various lenses were. Not so true today. This and no rehearsals means that if you want to try and boom a dramatic scene you need someone with eyes on the picture guiding you.
  4. You kind of have to wing it no matter if you have monis or not. I've always preferred to swivel my look between the mic, the talent and ( on a doc) the cameraperson. On docs you kind of have to guess about how the camera op is covering the scene. On drama with multiple cameras you can't boom and watch 3 or 4 monitors at once so it's up to the mixer (watching monis) to talk you through it. Cam ops of today don't feel like they have to communicate with sound at all, and get exercised very quickly if they see a mic, they expect that the sound dept can see all the shots. (Stupid.)
  5. (this re: recent discussions of vertical cart center of gravity...) My (old school) vertical carts all had a biggo battery on the bottom shelf. Sucked on stairs but helped keep things vertical when rolling (yes, big wheels first).
  6. And 5 trafo preamps, which is why I got one to use with my 664.
  7. I assume you are recording the 2-mix on the 664? If so then it doesn't matter if the levels match, you just make a mix that you like and meter off the 664. The 552's meter is sort of irrelevant, you could turn it off if it's a distraction. Are you going to the 664 from the 552 direct outs in prefade?
  8. Ditto. Although I will admit that it might just be oldster-former-analog-user paranoia...just what I'm used to.
  9. Without meaning to diss anyone, I don't buy the argument that its ok to work for an employer who is a well known bad actor because if you don't someone else will. I have worked for political causes I didn't agree with (pretty tame stuff) and political figures I wasn't behind (Arnold, McCain, Deukmejian, etc etc) but then I donated the money they paid me to their opponent or the competing ballot measure that I did support. But I drew the line with Scientology, EST, and various other predatory orgs. If you close that door another will open, or so I have found...
  10. If I could get away with just needing 2 speakers I'd have Neumanns already.....
  11. It can work, have done it in a pinch. You just have to get your cables and levels together, and be ready to live with some interference on the track.
  12. Well, I did a great deal of recording to Beta, SP, 3/4", 1" etc DECKs, as opposed to camcorders, and with those I took the balanced line level outs as a return to my mixer, so I had a very good idea of how the tracks would sound. No, the HP amps in the camcorders weren't great, but I didn't notice a substantial diff between what I heard on return from those and what I heard in edit rooms. Yes, Nagras and pro DATS and pro file recorders had better headphone amps...obviously? I did and still do a lot of audio post, so I hear production tracks in a studio environment all the time. I still get archival audio from those analog video formats and can tell you that they require a great deal of work to make sit in a track with more modern recordings. The "PA system" in a real movie theatre is a highly calibrated setup checked by Dolby (if the owners of the theatre are honest), and are made on purpose to be as consistent as the owners can afford. A decent theatre B chain highly magnifies flaws that a TV set sound system might conceal, if only because the audio will be played at a much increased volume level vs how people listen to TV.
  13. There is no comparison at all between that FERCO harness and my Versaflex....!
  14. I had one that was sold by FERCO. I didn't like it much, since it made it hard to put the recorder down when I had the opportunity to do so...
  15. I worked all of those network shows at one time or another, and have to say I was not impressed at their interest in or understanding of recorded audio beyond what an exposed clip-on lav mic gave them. I'm talking about the highest-end feature news shows of the time. I didn't argue, I figure they knew what they wanted and what worked for them (feeding audio to the cameras of that time), but my headphones listening to a return from the camera told me that the audio being laid down was not at all close in quality to what my Nagras, DATS and eventually file based machines could capture. I get it, they were in the content business, and good-enough was just that. But if you heard that Beta etc audio in a theatre at theatrical levels you would not be happy. I DID hear that sort of audio in theatres, many times, while working on some indie movies that were shot with those camcorders. A WHOLE lot of NR etc in post...
  16. Yes to pan pots. And yes to something that sounds good and is less fiddly for those of us not mixing Big Movies off Big Carts.
  17. I am crooked and arthritic in my '70s due to many many many miles walked (and run, and climbed) wearing Nagras. I loved the sound but carrying it, especially with a simple strap "guitar style" has cost me. But....that's how location sound was recorded then...
  18. I assume the reason that SD doesn't make non-recording mixers like 302, 552, 442 and the non digital MixPre is that hardly anyone wants to buy them new, and as a small co. they can only make a certain number of different products at once. I'm impressed that they will still service oldies like what I use (old analog SD stuff) at all. Yeah, their service is expensive, but they have the parts and the expertise. Only an experienced soundie would understand the utility of a 302 these days--I use mine all the time for one task or another, and would definitely replace it if I lost it. But a newb is better off having a current MixPre as their first and only device.
  19. Even on run-gun verite shoots I've found having the slate very useful, as I can easily and silently show it running to a camera op and they can verify that our TC jam is holding on their camera, even across the room.
  20. RE: Betacam, me too, bro, and 3/4" and 1 inch type C and even 2" on TPR-10s before that. Please do not hold up the quality of the audio those devices recorded as being good audio, because it wasn't and we knew it then. Anyone who had recorded audio on a Nagra and then moved over to those VCRs could hear the diffs immediately. The Dolby C used in some of them mostly made matters worse. If I delivered audio that sounded like what those recorders layed down today I'd be fired. And yes, audio from lav mics gets to the mixer via wireless. Unavoidable, part of the landscape, not negotiable. But audio then taking ANOTHER wireless hop to a camera, particularly when the soundie can't monitor what's being recorded there on the far lesser-quality audio systems of cameras vs modern audio recorders is not a way I want to get the only recording of a shot. Then there is the matter of post wanting multitrack recordings these days--audio sources split out to the greatest degree possible, fully annotated. Sorry, the master sound recording device stays with me--I'm not going back to the 1980's and handing it back to video. And slating the shots becomes a better idea the more shots, crews and shoot days are involved.
  21. I use a TC slate when asked to because it is very useful in post, no matter what sort of shoot it is. It makes a permanent visible record at the head or tail of a shot of what the shot was, when it was shot, by who, for what production, and the system TC. On projects of any type, including those the OP mentioned, there is the potential for a great deal of confusion in post when footage from many sources, locations and dates need to be reviewed quickly. If your people don't want to use slates then don't use them. I don't actually care if the people I work for use my slates or not, not using them is actually easier for me. But mostly they DO want them, so go figure. The OP is also very sure that since cameras can record "24/48" audio that that makes the sound they record "broadcast quality". What I want to record is "really great quality" sound--that's why I get hired, not to record least common denominator average quality sound. I would strongly recommend doing a comparison listen between audio recorded on a high quality current professional sound recorder with excellent preamps and ADC and the recordings from the audio electronics in cameras. Those electronics are generally compromised by both their design and by their proximity to noise and distortion-inducing picture electronics within the camera body. Meanwhile, how is that audio getting to that camera? On a wireless? On a long cable? A well- thought-out shoot allows freedom of movement by sound and camera people, and that we accomplish by recording audio and video on separate unattached devices, with ref. audio (maybe NOT "broadcast quality") sent to the camera, TC jammed between all devices and maybe even that old TC slate to make life easier for the posties.
  22. You can do the poly split in Reaper. Item-processing>Explode multichannel audio items to new one-channel items.
  23. If you decide to make a plugin (which is how I think most post-pros would use it), please consider making a VST version so non PT and Windows users can use it!
  • Create New...