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jgbsound

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  1. jgbsound
    I've been using the QRX in dual mode in my bag for a few years now with two TRX900's. I use the digital outs on the QRX to my Fusion12 and everything has worked swimmingly and consistently. One person mentioned the range issue. I've experienced this too, but I suspect it's due more to my 50mw transmitters versus the receiver. It's true that the antenna's are dedicated to each channel which is a bummer for redundant signal confidence. However, if you're that concerned, I'd recommending using a shark fin (unsuited for bag use I realize). Needless to say, It helps to be in close proximity to get a good dropout free signal. I really haven't had that much trouble to be honest. As a side note: One little feature that helps with possible dropout problems is the SD card in the TRX's. They allow you to run in record mode just in case there's ever a dropout. It's like having a hard line to the transmitter -- no interruptions. Though I tend to only utilize the SD cards when I'm getting a lot of interference from towers and such, and when a simple re-scan to an open frequency still doesn't seem to help.
  2. jgbsound
    Hey Mark, Unfortunately Vocalign is not an option at this point. The dialog for the day in question is missing and had to be re-recorded whilst lipsyncing to picture only (original audio was lost). I have to adjust the audio by hand because there is no guide track (reference) to follow.... This as Marc put it is a "sledgehammer" approach but it's the only option I have at this point. Thanks anyway for the suggestion, John
  3. jgbsound
    I'm glad to hear that others have experienced the same things. I went to the editor's place last night and we did a re-export in the QT Avid native codec which did sync to the AAF, though an offset in the AAF data got applied somehow so everything was off by a few seconds. Nothing a manual scoot couldn't fix. Thanks guys for all the support. I think I can safely stop wetting my bed now... ;-)
  4. jgbsound
    I talked to the editor finally and he seems to think it has to do with down rezing the HD to 720 (makes it easier for me to play back). Apparently Media composer messes up the video frame rate sync. He's going to try it at a different Rez and see if it fixes the problem. As a test I dropped it into After Effects, premiere, and Final cut and all complain its true 24 for some reason. Only Quick time says its 23.976 It's got to be the video export from MC. Of course I'm still not sure why I have to be editorials tech support!!! ;-) Keep you guys posted?
  5. jgbsound
    UPDATE: I was talking to the editor and he seems to recall there was a problem with the AVID export, He claimed that when you downrez the HD video to 720 (easier playback for my system) it screwed up the timecode reference. Has anyone had a similar experience? he's reexporting at dvd quality in hopes that this will solve the problem.
  6. jgbsound
    I was posting just prior about importing from a AAF/OMF and the files were read-only so I fixed that issue (or I should say, you all helped me resolve that problem). Now I just realized that (after editing for awhile), the sync is drifting. What's bizarre about it is if I look at the video reference in Quicktime, within the inspector window, it says the frame rate is 23.98, playback also 23.98 So, I import it into protools, but protools claims it's true 24. The mixed down reference audio matches the video and stays in sync. However, when I import the AAF/OMF file, it claims it's 23.98, and all those tracks are fall out of sync. has anyone experienced this before and what did you do to resolve your situation? Thanks for your guidance. jgbsound
  7. jgbsound
    Yes that would be true, IF production sound hadn't failed to back up the day in question and we are basically guessing what happened on set in the ADR process. Which is exactly what happened. Sooo, my task is to try and make the audio "fit" as best I can.
  8. jgbsound
    Hey Marc, That's not the problem. It is a very low budget production, and the ADR session was done by an inexperienced person. The performance is there, it just needs a little finessing to get the dialog to fit. Totally a timing issue by the performers. And so begins my nightmare... John
  9. jgbsound
    THanks Brian. I've already setup all my routing, organized everything, memory locations, etc. and started working on the project. Way too much hassle to redo everything and re-import at this point. I'll give your option no.2 a try and report back. Thanks everyone for prompt responses!!!!
  10. jgbsound
    Howdy everyone, So I am working on a post project for a feature and I imported my AAF/OMF data from a file exported by Media Composer/Symphony (not sure which). The re-recorded ADR timing is out of sync so i was going to use elastic audio to stretch/compress the takes so they fit better to the movement of their mouths. So, I made separate ADR tracks and copied my ADR takes over to new tracks and tried to enable elastic audio. It gives me this message: Could not complete your request because an audio file on the playlist is unsupported for Elastic Audio Processing as it is read only... Any ideas on how to solve this problem? Any suggestions would be great fully appreciated. Thanks!!!
  11. jgbsound
    Thanks Tom. I actually was kinda headed that way with the whole thing. My current mixing desk is a prebuilt workstation desk, two-tiered system with a longer board stretched across the upper section in order to accomodate the L/R/C monitors (two screens too). All I need, I think, is a slide out articulated keyboard to get the computer keyboard off the desk and swing the mixer into place. Pretty simple. The rest of the gear is rack mounted off to the side, so I think it may work out swimmingly. Thanks everyone for helping me think this through!
  12. jgbsound
    One thought. suggestions where you can buy used studio furniture? I need something that's not too horribly expensive.
  13. jgbsound
    Thanks Jay. You're right about that. After posting I began thinking that I need to stop using my computer as a multi-purpose productivity center and really dedicate it to mixing as the vast majority of my projects are audio related now. DOH! Thanks for the pict. I'm going to mimic your setup I suspect.
  14. jgbsound
    So I just picked up a projectmix i/o for my studio and was wondering how others place their mixer in the perfect position so that they have easy access to the faders, buttons, and such. Any suggestions/pictures? I was thinking about an articulated arm or something that can swing in and out but I wondered how practical that might or might not be, soooo, I turned to the forum to see what others did to make it work better for themselves? Any and all suggestions would be very much appreciated! John (jgbsound) Oh and happy holidays to all!
  15. jgbsound
    You're right actually. I looked this up and the model and Marc was referring to WAS the Schoeps Colette series mic. One in the same. I thought we might be talking about two different models but that's not the case. Please disregard my previous message (s).
  16. jgbsound
    My mistype. I meant the MK41
  17. jgbsound
    So Marc, what's your opinion of the CMC641 versus the MK41? They both are hypercardiods. I was thinking that 2 might be better than one when catching dialog between two people. I too, do a fair amount of "bouncy" room recordings and my CMIT5U can only do so much.
  18. jgbsound
    I would think that because the metrics of each mic as well as pickup patterns are radically different, they have completely different properties. My thinking is that most shotgun mics are cardiod or hypercardiod, whereas the cos11D is omnidirectional. Also, the size of the diaphragm is so much larger in the shotgun mic, the coloration will be different as well as the presence of the mic. I could be talking out of my hat (which seems to happen with regularity) but just the difference in size and directionality, they would be, in my mind, fundamentally different animals.
  19. jgbsound
    Thanks Marc. I have Purcell's book. I'll don't remember reading that section so I'll review the text.
  20. jgbsound
    That's a fascinating idea. I like the syllable switch within a word approach. Also a tiny bit of reverb to account for distance is a great trick. As far as getting both feeds to match in presence, so far, I've been EQing everything by ear and then looking at the Fourier Transform wave to see if I'm any closer. It's still time consuming and sometimes imperfect. Though I do get little closer to my goal with each try; perfect, seamless, lav/boom merge so that the audience doesn't hear a difference between that CMIT 5 boom and the COS11 lavs. John
  21. jgbsound
    Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
  22. jgbsound
    Jason - I like that idea of taping down chest hair to keep it from rubbing. I'll give that a try. The hypofix is nasty stuff but it really works during surgery (speaking from experience). I'll definitely try that one out. John
  23. jgbsound
    I can relate. I've gotten to the point that I basically RUN to talent to pull the lav from them. If all else fails, I'm now in the habit of telling them if they have to remove the mic without me, at least to pull only from the tape not the cable. So far so good, but still there are those who insist on doing things their way or think they know better.
  24. jgbsound
    Thanks for the suggestions guys. I also read online that you can place it inside a pen casing to protect it from rubbing too. I'm not sure how to implement it as the casing itself would add bulk underneath the clothing but thought it was a novel approach.
  25. jgbsound
    I had the same problem with my QRX100 had to send it into Zaxcom and get the board replaced.
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