BAB414

Also, you want to do everything possible to ensure you get the performance since ADR with kids could be difficult or impossible. That's why I almost always wire them in addition to the above mentioned reasons.

Yeah but DSQD in a bag is a little cumbersome though isn't it?

I second this. Digital is the future. Also, I would stay away from the L series as far as talent transmitters. I love lectro but the LT is too bulky and can't do 250mW and the LMb can only do 50mW (maybe that's fine for your style of jobs). I was going to go all wideband but instead, most of my transmitters are regular SMQv's and most of my receivers are wideband, which gives me enough flexibility. I can always change the block on my receiver and pick a new transmitter if I need (I have 11 talent transmitters).

I don't have an answer to your question but I do know that when it comes to data recovery, the more times you access the card, the harder it is to retrieve missing data, so I would not load the card up again into anything until you have a plan or choice of software to use. I also know from the fb forums that the combination of wingman and renaming files in the 6 series seems to *sometimes* cause the missing file error, which SD is unable to replicate on their end.

Is XR the Dome LED stage they use on The Mandolorian with the Unreal Engine?

While I don't think this particular example is very good at all, I know that the tech is getting better. I could see algorithms getting good enough where as long as a guide track is recorded on set to capture the actor's performance/intention, AI could synthesize or sample the timbre and recreate everything to sound exactly as they want, with designers tweaking things like perspective, reverb and EQ. Any thoughts on how this tech could affect our job security? I'm not fear-mongering, just genuinely curious. I love this for ADR. Not so much to replace production sound.

Better yet, hardline your boom right into someone's home speakers.

What if it's an antenna that transmits and records?

Ludicrous. I had a handful of sankens break on my last show alone (actors' fault mostly).

When I ordered the ultraflex from Field Components, I had them build the whole cable for me. Not sure what connectors they use but haven't had problems with them.

What's "Call Before You Dig"? from the Gotham list

I use the PSC. One in the bag and one on the cart. No complaints, except the antenna power switch broke on one of them. Still works, just part of the plastic snapped off.

Can't wait!

https://www.adorama.com/psmcarshe04.html

Matt, I've been waiting for this so I can replace my PSC upright cart (my follow cart) with something smaller and lighter. As you're developing a folding side shelf, one issue I have with the PSC model is that wacky arm that sticks out to support it. Since it's one solid piece, it's impossible to store it anywhere when not in use. It could have used a hinge or just have been modular and in 2 separate pieces. I hope your design overcomes this issue. Looking forward to see what you come up with!

That is cool. I forgot about that.

For the MM1 people out there - how do you route everything on the boom op side so that they can hear the slate mic/the mix? Aren't they just hearing the boom off the preamp?

Yeah, all those direct out cables add a lot of weight too in addition to the batteries.

I have a love-hate relationship with Nolan. I love Memento, Prestige, Dark Knight, and thought Inception, Interstellar, Dark Knight Rises were misses. He certainly is a genius, but Tenet (his absolute worst film in my opinion) has other MAJOR issues not related to the sound mix. I'm shocked and disappointed about his seeming lack of understanding about the sound mix in general. He calls the audience "conservative". How does he not understand one of the oldest cliches about filmmaking: you can do almost anything you want to the picture, but the sound has to be solid or else you're watching something akin to student film/youtube video (or something like that). He only seems to just be learning that now. Maybe it's a product of being at his level, surrounded by yes-men, but besides the Mumblecore movement, I have not seen this kind of issue with any other filmmakers. Edit: Let me add - In an early interview with him, he talks about production sound and ponders why more sound mixers don't use the "4-1-6" microphone so he clearly has opinions about how sound is captured and thinks he knows it all (though he probably does know more than the average Joe). There's stories about him telling the Dark Knight Rises team where to put the lav to capture Bane's voice from behind the mask. Didn't work out so well. I've also heard he fired the production mixer on one of his movies.

I'm wondering if night and day is the difference between useable and unusable dialogue because I've been rocking HMa's since they came out with no issues and know a bunch of other mixers who use HMa/HM/UH400a's as well with no preamp in between.

Same company - http://www.soundcart.tv/ I got a MiniCart from them and love it. These carts are not made to order (though I think you can get some bespoke specs if needed) but they are designed to be modular so you can set them up exactly how you want .

I have these filters and when using them together with my 3dB pads, I have seen definite improvement of my RF system overall.

I have the ALP620s on my cart that are great and I have powered PSC UA874's that I was remoting until recently. We figured out the hard way that if the UA gets tilted up or down, we get crazy interference. Can't speak to the specific model OP posted about.

Anyone with first hand experience with these guys?

Thanks for sharing. That is wild. Never seen the pyramid before. Do you happen to know if the SRb's are as susceptible?