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Noah Timan

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Everything posted by Noah Timan

  1. Thanks Tom. I think maybe nobody makes what I'm after. I do already have a couple of 1 rack space, 10-pound, AC-powered boxes that do this function (along with others). I was hoping that someone made a simple interface, small and light, that simply took AES audio in via standard connectors and output via thunderbolt. No need for the size and weight for all the circuitry for mic preamps, ADCs, video technology, 48 channels etc etc. Something hopefully small and in the 1-2 pound range. As I said, I think maybe what I want doesn't exist but I thank everyone for the helpful suggestions!
  2. Thanks all. I'm beginning to fear that what I seek doesn't exist except as something big and heavy and overloaded. Tom, do you know what the Blackmagic device was? I couldn't find anything on their product pages.
  3. Try the Groundskeeper brand from Canada. Solidly built with good backs.
  4. Thanks to both of you! Rado, that might work, but I'm wondering if there isn't a more direct device that does it. VAS, the symphony system may be a little overkill for what I'm trying to do (take 12 channels of AES and output them via Thunderbolt or USB, no A/D conversion etc). Thanks if anyone has any other ideas...
  5. Hi all, hope everybody's well. Can anyone recommend a simple, small, lightweight interface that would accept 8-12 channels of AES audio from an external source and output to USB or Thunderbolt? It does not need to do anything else. Thanks in advance if you've got any ideas...
  6. On my current show I use three different recording rigs and two of my recorders have built-in sound report generating functions. On the third I still do paper reports. In my experience and from conversations and discussions with many different dialogue editors and post folks, no matter how meticulously we fill them out or deliver them, sound reports rarely get used in feature and episodic workflow, beyond production and telecine noting what was delivered and telecine using them to verify any discrepancies of what takes are on a given roll. For post, they're usually working off a conformed c
  7. Thank you, sir, for the compliments! I don't do it alone. I'm pretty sure I've got the one of the hardest working sound departments in New York City behind my back when we do this show, augmented with lots of help from the greater NY sound community as we're constantly doing multi-unit work where we have to split up and add teammates to the formation. And I've been blessed by being able to work with two amazing costumers who never give up on finding solutions with me, grips, electrics, props, set dressers all who run in to fix problems and don't worry about getting "yelled at" for taking a
  8. << It sounds like Noah has mastered that art of fighting the good fight along all the technical lines of framing and noise reduction. But I also argue that it's always worth the effort to at least point out the obvious, "We wouldn't have to shoot everything in close-up, move all our locations 20 miles from the nearest airport, and ADR half the performances if the actor would speak up just a little." Perhaps for a particular actor it just doesn't work, but, for an actor that can pull it off without blowing his performance mojo, it is by far the most straightforward solution in most cases.
  9. Dan, it's not just Jim -- like I say, most of our regulars are soft speakers and I've had plenty of experience with others in movies and other shows. When they don't project, no amount of asking/demanding/suggesting has gotten them to do it for more than maybe, MAYBE the moment it's being asked for, in my experience. The funny thing is many of them have naturally loud speaking voices, but when the camera starts rolling those loud voices disappear.
  10. Well, I'm glad it worked out for you. My experience is different, though. I have never gotten a normally quiet actor to suddenly start projecting for any sustained length of time. That's with dozens and dozens of soft speakers on all sorts of movies and shows. Perhaps I've just been exceptionally unlucky...
  11. And how often have you been successful at getting an actor to change their volume over a consistent basis by asking, or 'educating'? My point is that it's a learned skill more than it's a conscious choice. If I can't sing in key, saying to me "sing in key! You're off key! You need to be on key!" probably wouldn't get me any closer. I'd have to learn how to sing and practice scales etc. In my experience, theatrically trained actors tend to project because they've been taught to do so and have practiced that skill. In my experience, it's going to be fighting the current with those withou
  12. Steve, the fight isn't with the actors. That one you'd always lose, if you were foolish enough to try. Regardless of how cooperative their attitude is, actors who aren't trained to speak from the diaphragm are not going to suddenly start doing it as a default because you asked them to. They are in their own tunnel like everyone else, and your needs are not going to be high on their priority list when they are in the moment. They either have theater training and speak up on their own, or they don't. Any requests for "more volume", from either you or the director, are usually going to have
  13. Thanks Marc! Yeah, it was cute that they referenced it...obviously Jim's "speak softly and carry a big stick" routine isn't lost on anyone. He's the obvious standout, but most of our cast tend to be quiet folks...it does obviously make it more challenging, especially since we spend so little time at the studio. Michael is a really talented actor, a wonderful guy, a good friend and a dream to work with from a sound perspective...if any of you get the chance in the future to work with him, I recommend jumping at it.
  14. Hello Ty, all I gotta say is this: I wrote a much longer answer to this question when it was posed on the jwsound Facebook page in December, but I can't find the thread. In brief, I do have different microphones, gain structures, EQ settings, rigs etc I like for the different members of our cast. That's a technique that really has to be done by ear to get tailored to the particular voice -- it's not a one-size-fits-all procedure. But mostly we just have to fight and scratch and kick to get the noise levels down so we can record these guys and gals without a ton of BG noise creepin
  15. I've been using Boom Recorder as my primary platform for the last year and change, and as my backup platform for several years before that. Very, very few problems to report. However, I don't have a lot of experience with rolling takes longer than 15 minutes or so (or however long it takes an Alexa to roll out).
  16. One of my favorites is "Sorry, they call them talking pictures now".
  17. I like the B3 better than the B6 in terms of the sound. If you need waterproof but not teeny-weeny it's an excellent choice.
  18. I have not had this issue...something's up. A phone call to SD's tech support might prove helpful...
  19. At the end of the day, with lots of good points made by you and Josh and others here, I think this is what it comes down to. Depends on your preference and the way you like to work and find is most efficient for you. There is no "best" or "one size fits all" answer for everybody. Good luck with the pilot!
  20. If the lav is a total train wreck, then yes. But if there's something more minor the director may not be paying the kind of focused attention to the sound that we are -- we are only focused on the sound, but the director is watching the frame, the camera movement, the actors' performances, the lighting, and many other things. Think of all the times there was an awful plane or truck or something and you had to point it out to get another take and the rest of the Comtek-listening crew would never have stopped on their own.
  21. To JD/Richard: My crew is excellent and everyone can wire if need be. My comments were more of a general philosophy about the whole thing, not a condemnation of anyone that I work or have worked with. As I said in my original post, I find that I am the person who is most invested in the wire being clean of any clothing or wind noise and being in the best position on the actor's body. I am the person who has the most access before the shot starts to check in on it and make sure it's OK (via PFL, which my utility person can't do unless I get up from the cart and he or she sits in front of
  22. The Schoeps is prettier. The Sanken is more versatile. If you're doing run and gun reality the Sanken is probably a better choice, if you must choose.
  23. Well, I think we all know that wiring is a complex skill that isn't just about finding the proper mount or microphone to solve every problem. Wardrobe and elements and script situations and actor behavior politics and AD time organization may provide us with many ever-changing challenges that shift from job to job, and even shift within the same job quite dramatically. On some jobs that will not be accepted and one will not easily be able to "hold that next take" regularly. The producers, director and crew will not stand around and wait patiently with the meter running and the direct
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