Jump to content


  • Posts

  • Joined

  • Last visited

About bperlman

  • Birthday 01/01/1

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Also, the Los Angeles Conservancy's annual Last Remaining Seats film series usually has one silent film screened at the Orpheum Theater, downtown on Broadway, accompanied live on the mighty Wurlitzer organ. The LA Theater Organ Society hosts live accompaniment to old films as well. All-in-all a very different experience from what most of us are used to in film viewing, especially for us sound critical viewers. Bruce
  2. Laid off the big purchases this year, but these two items made me smile: Finally, a set chair I like. Light weight and good geometry. http://www.naimies.com/featured-products/tall-aluminum-makeup-chair.html This puppy rocks. The Foxl v2.2 Bluetooth speaker is my new favorite toy. As well as being a useful tool on the set, I also got the mounting rig for my cruiser bike - no more dangerous earbud wearing while riding. http://www.soundmatters.com/foxl/index.html Bruce
  3. I worked with the Epic recently. Sent audio to the DIT who used the I/O module. I am not certain if it was the Pro or the other version (would that be amateur?). I gave him XLRs and provided the XLR to TA3 adaptors. Of course I ran double system, but the sound in the camera was decent. Oh those fans! We shot on a small hot stage and the DIT was worried that the camera would get too hot. The best compromise we could reach was 30%. I would have preferred "Off", but "the show must go on." However, after hours of nearly continuous running - literally - there was no shutdown. I wonder what fan speed we really could have gotten away with? We did have one other issue: down-convert latency. I haven't seen rubber lips like that since early HD. It looked like at least five or six frames, and was bad enough that I had to dig out my old Behringer Shark to keep the clients happy. Me, I'm in it for the glamour. Bruce
  4. Hmm. Now we can roll from the Craft Services table... or maybe from home{:>)
  5. Here is an illustrative guide to finding the audio input on the Alexa. It must be from the camera department. Prepare to have your wrists slapped trying to access this unit. Maybe we'll get lucky and nobody will tell the producers about the new sound capability:) Just dreaming. Bruce
  6. I use the Rolls MB15b Promatch for -10 +4 conversion from my laptop and/or iPod. It lives in my stack along with a Behringer Minimon 800 for playback distribution and control. http://www.rolls.com/product.php?pid=MB15b&PHPSESSID=1a6ccae54051ad04a2920715559b6cfc http://www.behringer.com/EN/Products/MON800.aspx Bruce
  7. Trying to help a NY producer friend shooting in San Diego Wed, Thurs, Fri. His mixer may get stuck in NY because of the next storm so he's looking for back-up. It is a corporate type video - usually just interviews. Money not great, but the people are nice and it beats sitting at home. Leave me your info off group at bruceperlman@gmaildotcom Bruce
  8. Bravo, Phil. Now if only we could get them to pay attention to the helicopter overhead. Bruce
  9. This thread reminds me of something I heard over forty years ago, about the five stage of a film project. 1 - Joyful enthusiasm 2 - Total disallusionment 3 - Hunt for the guilty 4 - Persecution of the innocent 5 - Honor for the uninvolved Somethings never change. Bruce
  10. You mean I'm not getting a mug? Hey, good job Jeff and Laurence. Hell, if this site didn't exist I'd have to do my chores. - Sorry honey, it's about work. I'll be down in a minute! Bruce
  11. I seems to me, rather then parse what Mick was driving at, this is a good opportunity to discuss some of the newer and, perhaps, less conventional recording equipment available today. If we are talking about using "pro-sumer" gear to replace our primary professional equipment, then I agree with others that this is a mistake. But if we choose to use this semi-pro gear to augment our kits for special use, I think there is a wealth of experience among us to share. I, for one, have carried and occasionally used odd-ball recording gear for all of my career. I've got a handful of cheap and disposable mics for various SFX. I even have a couple of ancient wireless' that are not afraid to die for the cause. Years ago I always carried a Sony Walkman-Pro (hardly Pro). It was great for leaving on a podium to record speeches while we filmed other stuff. And today I carry a Zoom recorder and an Edirol. They are useful for transcription and pretty decent recorders. Just a few weeks ago I strapped my Edirol under a horse and got some amazing effects. Sure I could have done better riding the horse with my Sound Devices and a Sennheiser or used a Zaxxcom recording transmitter (if I had one and was willing to risk it), but I knew I had a small window of opportunity and thought the SFX would be cool. They were. I'm pleased I did it and my clients were pleased. What is perfect sound anyhow? It certainly isn't the sound not recorded. We are sound recordists, after all. You lay down tracks with whatever you've got, wish you had more and better gear, and try not to make the same mistake twice. Like to hear what others are doing and discovering. And by the way, rules are made to be broken - the bratty little boy in my soul. Bruce
  12. Cool, Thanks Robert. More sticky is better. Tired of discovering the mic somewhere down near the navel (on sweaty actors)right before we roll. It really is all about our bag of tricks.
  13. Hey Robert, tell us more about Kinesio tape - skin prep, removing, strength, etc. I'm shocked that I don't know about it. I thought I had every sticky thing known to man in my kit. That's why I love this forum. Thanks. Bruce
  14. I'm renaming and bumping a thread that began as SB-T vs SB-3. Still hoping to get more opinions on the SB-T vs the Ambient Lockit. I'm leaning towards the locally made and supported product - Deneke SB-T, but still see many more Lockits on the job. Also, curious about what people are getting for rental - book rate at the rental houses is $50. a day. It seems a shame to let the camera houses get money for something that is handed to us to deal with on the set. Of course production never seems to question the rentals for the camera department. - i.e. that expensive lense that sits unused for the entire shoot. Ah, but that is a topic for another time. Most importantly, there is also the element of having confidence in the condition of the unit. If the magic numbers aren't right, we get the early morning call. Bruce
  15. I'd like to pick up this thread to find any more real world opinions about SB-T vs Ambient Lockit. I agree with Marc, I prefer to buy locally made and supported gear, but I never see the SB-T in use by DITs. Is is just that the Lockit has become the more well known, and therefore a more popular unit or is it really superior in any way? I have read the manuals of both and they seem comparable for the kind of work most of us do. Bruce Bruce
  • Create New...