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jgbsound
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Everything posted by jgbsound
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I'm in line to buy 2 from Gotham once they are released. Will report back once I have them in my hot little hands...
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Hey Guys and Gals! So I'm editing this feature and I keep getting "Video Engine was unable to stop." Error. I'm able to remedy it easily by closing the session and relaunching Pro Tools but it's damned annoying to do. It seems that it happens when I click into the timeline someplace, but my hand isn't perfectly steady, so I accidentally make a micro selection of a tiny tiny region. I went up AVID's support site found a few postings where others have been fuming about this issue not being addressed back even in PT11? I didn't want to waste my "1 per month" tech support ticket with AVID on an issue that is known and not yet fixed so I wanted to check if others are having this problem and possibly found a solution for this? I'm running PT 12.4HD native on a Windows machine. Thank you for any suggestions you have! John
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Thanks guys. I've used the CMC641 /mk41 before with great results. I think I'll start looking into buying one. All the best, John
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Thanks! That's good to know. I have used the mk41's with the cmc 6's before and I really like that mic. It works well with the CMIT when you A/B them.
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Hmmm. I guess I need to investigate this further. I input straight into the Fusion 12 (no Mixer) so there are only two things involved with the analog inputs. THe mic and then analog input on the fusion. I do have to drive the Schoeps at a pretty high trim gain to use for normal dialog to sit at -10/-12. I'll try an MK41 next.
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Thanks Rob! It's funny I was looking at the 4017 just a bit ago. I'll take another look at it. Thanks! :-) Phil: I always assumed it was the mic; I've dropped input gain down pretty low and I still I get distortion. It there something else I would need to check/monitor? The mic handles a maximum SPL of 132 which is a pretty loud source. I really notice it with female screams.
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Howdy Gents, I've been doing a fair amount of horror films and I always have distortion issues with my CMIT5u when anyone screams (especially women), or even yells too loud. I normally back off the gain and move the mic away to handle it but this changes proximity, and in post, there's a noticeable difference. I've been renting a MKH60 with a -10pad to better handle these situations but it occurred to me that you all have had to deal with this situation at one time or another. So I was wondering what your solution is/was for capturing clean scream sounds? I'd prefer the mic to be up close to my subjects when I do this of course to get a more consistent result to send to post. Any guidance would be greatly appreciated! Thanks, John (jgbsound)
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I forgot to mention that the other book I recommend to people who are interested in getting involved with audio recording and editing is Jay Rose's "Producing Great Sound For Film & Video". It is an precise compendium of everything audio related starting with the Physical properties of sound waves, wave propagation, all the way through the production/post chain. It's a wonderful book that I think fits into any classroom curriculum and is a great reference for me. You can't go wrong with this book.
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Malcolm, I'm wondering why you need such high capacity in the first place? Even if you have multiple ISO Feeds (I have had at most about 10 feeds for a feature), I only used about 12-13gigs of capacity in a day of shooting. Taking into account that you would back up all your data daily (or a DIT would), why the need for such high amounts of storage? John.
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Free gifts for everyone! The Sonniss 'Not-So-Secret' Santa
jgbsound replied to Sonniss's topic in The Post Place
Hey Tim, Thanks for the lead to your site. I didn't know this existed! The prices seem damned reasonable. I will be buying stuff soon. one question: I can't seem to view my created wish list on my iPad. Not sure if it's an iPad issue or a website issue. john -
I have a fusion 12 and I use the Sandisk extreme pro 64 gb cards for recording surround ambiences's at 96k. They are 120mb speed. I haven't tried larger than that.
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I second that. Purcell's book changed how I approach dialog editing and how I record audio on set (I do both).
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Whaaaaaat? What magic is this? Now I have reason to love it even more. ;-)
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Just bought one. Connected the LEMO, pressed both buttons to power it on, and voila! synced perfectly. Build quality is super solid and the OLED is bright and sexy looking. Not too shabby. Gonna give it a tryout on my shoot this week.
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I have a 5.1 small studio using Yamaha monitors/sub and have had good translation success with them. I also have a blue sky BMC mkII to handle the bass management. Bought the BMC on eBay since its discontinued. Also someone on a similar thread I posted suggested that software bass management has one partaicular advantage in that you can "bake in" your bass management choices. When i I upgrade the monitors eventually ( because I blew my wad on an S3 control surface) I plan to go with the focal b6 solos.
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Just curious: is there any inherent advantage to a hardware based Bass Management System, or software such as Waves 360 or others (i think there's also one called Spat?).
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One additional note I am using band limited speakers (the primary 5 speakers frequency response is 30kHz to 54Hz). I also am using an LFE for the low end.
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I'm mixing for theatrical, mostly. Minister, I see the settings you mentioned in the Dolby Production Guidelines. And thank you for the link to the appropriate band limited pink noise, a.k.a. Dolby Pink. I'm in a smaller mixing room (it's a 15x12' mix room ) so I would calibrate to the lower level I'm assuming. Makes sense now considering you are setting reference relative to nominal dialog levels. I'm pretty sure this is what I did before, the last time I calibrated the entire system. I have been doing the initial SPL measurement with my Sound Level Meter.. This is a good starting point! I'll pipe up if I have any additional questions? Thank you one and all! John
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Howdy Gents, So I have a new shiny S3 console and am re-calibrating my speakers for film reference? (85 C spl). So I mapped 6 tracks in ProTools to discreet channels for the 5.1 field and inserted Pro Tools tone generator, set it to pink noise to start the process. By default, the tone generator sets the tone level to -20db (for headroom?). But if I truly want to work at the 85db reference level, shouldn't I set the tone generator to 0? By doing this wouldn't that more accurately reflect the meximum 85spl I need to dial my monitors to? Am I thinking about this the wrong way? Thanks for any guidance you can give me! John
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Flattering wasn't the proper descriptive word. I guess I meant the genelecs sounded brighter to my ears compare to other speaker I've listened to. Pindrop pointed out, we don't hear in a flat frequency response. I assume we all hear things slightly differently as well. This is why kicking the tires on monitors is so important in my quest. I went up online and looked at PMC as well. Very nice speakers but outta the price range I'm shopping in. Thanks everyone! Sent from my iPad using Tapatalk
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I'm going to go down to vintage audio and test out some of these speakers. I'm starting to lean towards the Neumanns kh series monitors and the JBLs seem to be an attractive choice. If I had all the money in the world,I'd, pick the focal twin6 BEs. The genelecs seemed a little flattering and I wondered if they aren't as flat a frequency response as the dynaudios. Thank you one and all for the suggestions! Sent from my iPad using Tapatalk
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These are great guys. Thanks! There are a few new speakers I hadn't thought of. Just out of curiosity what JBLs where you considering? john
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Hello everybody, So the time has come to upgrade my studio (I have the Yamaha HS series monitors set up in a 5.1 config) and my budget is about 1k a speaker. I've been listening to the Dynaudio BM6 MK III's and they seem pretty solid. They appear to have a pretty flat frequency response. These, paired with the BM14S II 12"Subwoofer, I'm thinking this would be a pretty good mixing environment. While, others are mixing on Genelecs, and still others, I see, are using the Focal 6B series monitors, et all, the BM6 MK IIIs appear to be decent performers (I really can't afford the Dynaudio AIR series which have the sculptable EQ for each speaker which is pretty friggin' tantalizing). Are there other choices in this price range? At the end of the day, good flat, frequency response and translation to the screen is what I'm looking for. Thanks for your input! John
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I like that idea Tony. I'm fully planning on over-recording my environments, then trying novel ways to combine them in post Sent from my iPhone using Tapatalk
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Thanks everyone. You all have given me lots to think about. I'll report back on my successes after I return!