Rachel Cameron
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Posts posted by Rachel Cameron
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Thank you, Philip. That's very welcome information for my quiver.
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I realize that most of our problems are the opposite, but I would love to hear some thoughts and comments on the mic being too close to the subject.
I generally operate on the basic principle of 'camera perspective' informing my decision. But Robert had an intriguing comment (thank you RPSharman) in another thread, stating: "with some of the mics we use today, the frame line might be too close".
On an episodic I did recently, there were several ECUs (faces only), where I had the MKH50 at the frame line for some intimate lines. I was half crazed from cicadas, and was glad to get the damn thing in there like that. I thought the signal was amazing. I could practically hear the presence of blood pulsing through jugulars, etc.
Could I have had the 50 too close? How close is too close? Subjective subject, I know.
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16 hours ago, John Blankenship said:
"....Usually, the best way to know the frame line (well, the third best way -- experience is the first best way, know your lenses, etc. -- the mixer at the cart is the second best way), is to start with the boom inside the frame and have them talk you to the edge. The challenge with this method is that as soon as you dip into the frame -- even if you request a frame line as you do so -- someone in the camera department will typically yell, "Boom's in the frame!" with the same verbal ferocity they'd deploy if you were raping their dog. This is when having a friendly working relationship saves the day for all concerned -- and sometimes a bit of properly-timed humor can go a long way. They're more apt to know it's humor if you have that friendly relationship."
10-4 on JB's and soundpod's comments. I have a pat line or two to feed the camera department. It goes a little like this:
Me: (standing with my hand on the C-stand knob and joint) "Could you guys help me (or my boomie) out with a frame line? I'm gonna drop the boom into the frame, and you guys can help me out to the edge."
Camera op (standing at the monitor): "BOOM'S IN THE SHOT!", (everyone looks at me).
Me: "Yep, I know. Your first AC is helping me out to the edge. In the audio department, we live on the edge. If we're not living on the edge, we're not doing our job."
Everyone: (laughter, friendly approving remarks)
I'll also surreptitiously check monitors, or I'll have one at my cart, when I'm working behind a cart. I'll watch for boom shadows or lens changes. It's an art form for sure.
cbsixty, I feel for you. Sucks to work with that sort of ego. I've been pretty lucky.
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On 10/8/2016 at 3:24 PM, Jim Feeley said:
Heard this last night. One of the all-time favorite brain-melt guitar solos. By Robert Fripp, iirc.
One of my fav Eno tunes of all time. Great album, too! Heard one from Another Green World, a few days back on the radio ~ something quite rare in the vast cultural wasteland of Floriduh.
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On 10/8/2016 at 3:22 PM, Philip Perkins said:
My Cedar comment was not re DNS2, which is kind of a dumbed-down Cedar by audio post standards. I've generally found that what Cedar can do themselves on their own in-house proprietary systems exceeds any NR I've ever heard Cedar users be able to do. RE ADR vs compromised location sound and actor perfs, I too have found that directors usually really want the location sound to work, and I usually agree.
Interesting. I didn't know that Cedar would work on files with problems, if that's what I am to understand. I imagine this is a fairly costly service, (but that's always relative to each different perspective, too).
On 10/9/2016 at 0:26 AM, atheisticmystic said:Seems like True Detective had a load of camera noise...or was I halunicating again ?
best
Sucks to just hallucinate camera noise, when there are so many other better things to hallucinate. : \
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Parroting the DNS-2 comment. I bet it would do wonderfully; perhaps a rental of the device could be the answer? With a Panavision budget, that might be within reason. 10-4 on conleec's comment, regarding heavily emotional dialog.
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On 9/11/2016 at 1:32 PM, Rich M said:
PS: I tried to add a bunch of relevant tags to this to aid in future searches but could only seem to add two. Sad face.
Sorry guys, that was probably because of me. I meta-tagged a suggestive line of humor in five or so tags there once. : (
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4 hours ago, ElanorR said:
Maybe I'm too non-confrontational, but that was really uncomfortable to watch. I had to force myself to watch it to the end!
I could see that. But it was only funny (to me) because the Soundman character was so blown out of proportion..like to the point of caricature. I can honestly say that I've not seen one near as bad as Mr. Murphy is.
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That upbeat sort of resolution 'feel-good' music at the end, with his totally negative comment made me crack up.
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Great photos!
21 hours ago, Christian Spaeth said:Had a shot today in an underground tunnel. Nobody had told me we'd have to wear safety helmets so I didn't bring in-ears. Still managed to wear my headphones around the helmet without bending them!
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Cool that you work with Ray Day. He's from my school, which was modeled after the SFAI program. I found him interviewed here. He turns up in the first five minutes.
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Nice view. What's the temperature there?
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On 9/2/2016 at 11:09 AM, jrd456 said:
This is no joke. Low pounding frequencies scare the little creatures and they shut-up. Pound a 6"x6" post on the ground, and they think it's a Mastedon [elephant] and they shut-up------it works!
You're right, it sure sounds crazy (but folks consider me crazy, anyway). I have the room for a 6x6 post and a ten lb. sledgehammer in my van, if this showed any promise (would a 4x4 post do the same thing?). I've had it up to here, and would put a PA on the task if it did. My (sick and twisted) answer was a bottle rocket gun and a few bundles of Black Cats for the trees in question. But it felt, somehow...wrong. To the neighbors, anoles, and the birds, that is.
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I wonder how many threads here are devoted to this issue by now? This surely indicates the scope of the problem. I've read and read, and I don't think I've found them all. After a particularly hairy day, I went home and made a whole list of items (from these posts). I then devoted a complete Tundra case to 'things that quiet lavs', and began to fill it up with stuff from these threads. I still get days where I just can't win.
Hang in there Tong0615.
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12 hours ago, Nick Flowers said:
I think this is beautiful. I hope others here do too.
Yes it really is, Nick. Very nice.
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I'm stunned. W O W.
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Exhuming my contract thread, for an update, and a question.
I've integrated a newly written simple contract into my workflow. Most sign it, no problems. Checks come faster now. Respect to all who had input.
Before one job started, I had a verbiage 'back and forth' with a rather large 'lawyered up' company, regarding one of the clauses. This was the clause that Marc Wielage brought up in post #11 here, regarding 'paying them any losses they incur'. Their verbiage suggested that I pay for, and I paraphrase: 'everything if something went wrong". I was able to limit that to (not paraphrased) : 'no liability for any amount exceeding any compensation paid under this agreement'. Fair enough. Capped. They were happy with that.
My new question is for those who use contracts for every job.
Those jobs where the call comes in literally the day before: You get a call, agree on some basic terms, day rate, standard stuff, etc...on the phone. That evening, you send a contract right away. The next day, their office collects their email, begins to look it over, while you're hitting the record button, out on location. At the end of the day, you turn in files. You've not had a chance to even look at your email for a signed contract. By then, the job is literally done before a contract is signed. It makes me nervous to turn in files before a contract is even agreed upon.
How do you handle this?
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It's time we raise our tankards, and give a rousing toast to the intrepid SM58. As of this month (according to Shure Bros.), the mic is now fifty years old.
They're celebrating with a silver one, for some reason. But I believe the big 50 is supposed to be gold.
Maybe when it reaches 58, we'll be getting our gold ones.
PS: I've seen some of them that look well over fifty.
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16 minutes ago, Nick Flowers said:
Quiet extras, though.
Haha, true. I got told not to bother with audio, because no one makes any sound there. But the area 'presence' was top gear.
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Yeah..being in "the pit" means something a little different here.
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Poly. I've never been asked for anything else, for some reason. Matter of fact, I've never been asked for poly, either.
Welcome Pius, to the group.
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18 hours ago, JBond said:
Yes you have it right, Rachel, just the number is 811, you have it backwards at 118 but thats ok.
Right. 811. My head was swimming in serial numbers.
Dyslexics of the world untie!
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It's been a long (fascinating) read.
So if I understand correctly:
The serial number on the SN seemed to stagnate at 118 for a while (the SN un-screenprinted years), but with the addendum of the space and two digit numbers that might indicate the serial number of that particular [covert] SN? EG: 118 29, or maybe 118 41 and so on. After that, Nagra resumed consecutively numbering each product from 119, using serial numbers that continuously rose into the five digit realm, and so on?
If so..essentially, there were only 118 of these SN's made, 118 118 being the final un-screenprinted unit?
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That sucks. I feel that. I did a film two years back with a crowd who espouses mumbling so much...that it became a new genre. Yikes.
https://en.wikipedia.org/wiki/Mumblecore
Asking for frameline
in General Discussion
Posted
Nick, that was priceless.