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studiomprd

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Everything posted by studiomprd

  1. the Denecke GR-1 is a great little box for a master TC clock. the time base (crystal) in a laptop (or typical desktop) is not accurate or stable enough for our typical needs.
  2. I keep telling my students they need to run a test to be certain. With so many variations and combintation, and new flavors arriving almost ever week, I can only be pretty sure if I have done exactly the same thing before, with exactly the same equipment, and know all the settings -including the camera-recorder, as a "small" change there can have big effects! (in other words almost NEVER!) a major concern is not knowing absolutely for positive sure what the camera-recorder frame rate really is, everyone is enraptured with "24P" (must be like 35mm film, right! it must be!!), and with all the editing programs and their flavors: Final Cut semi-Pro being popular, but mostly a pain! Naturally the Producer and Director don't really know, and their both "knowing" conflicting facts is pretty common, as are those "on the day" changes, which I call "...Oh, by the way ...'s)" GRR! did you get that sign-off in writing?? GRRR!
  3. Shure makes a decent 1 x 6, mic/line, XLR DA that runs on 9V's or AC in the FP series.
  4. "...the DP came up to me genuinely aghast and asked if I really thought they would have to loop the whole thing. " I guess he couldn't hear the creaks??
  5. the RicSonix should be popular with low budget/student documentary types, and huge for the ENG market; in practice, it's better than CD audio spec's and sound quality should suit all but "audio snobs", especially for these target markets. the good news for those looking for more/better performance and spec's, is that as others adopt this technology, it could reduce the crowding on the existing wireless mic spectrum. Keep in mind that this product is designed for use by "presenters" in front of camcorders, and at events that generate a lot of "coverage", if the reporters standing 6' in front of their cameras doing "stand-ups" and "live shots" find this an attractive alternative, a lot of competing signals will be moved to it. This is potentially a huge market for RicSonix, and generally larger than the traditional movie production sound mixer market segment. "our" little niche segment of the wireless microphone market is not the industry's driving force, we are well behind entertainers and venues (churches, conferences, etc.) as wireless mic customers and users. all the best
  6. I'm with Jeff on the term "movie"!! I deliberately use it, especially with my classes, as I am a bit put-off by students, and others, who make video's and call them their "Feature Film".(usually to make them sound more significant!) BTW, I also emphasize "Feature Length" as the proper term, unless and until it is actually "featured" beyond the cast and crew screening! and also, BTW, there are far too many video movie-makers calling "roll sound" who have no idea why!
  7. marking equipment may help get it back if lost, left behind, etc, and depending on what it is, and the way it is marked, may possibly deter theft, mostly I figure labels to be helpful getting stuff back at wrap! I have gotten engraved walkies back, just "Studio M" and a toll-free number on them, no sense in advertising to a thief where to look for more stuff! on major gear, I like to get an ID sticker tucked away inside, as it may not get removed, and could later help ID the item if it is recovered, or brought in for service. "Tamper Proof", well that is like "waterproof" on a watch, really means tamper resistant, doesn't it??
  8. THUS MY COMMENT THAT IT WOULD BE MORE USEFUL TO BE POSTING ALL THIS ON THE SD USERS SUPPORT FORUM, as that's what it is for!
  9. this stuff needs to be brought up on the SD support forum!!
  10. for best results have them inflated by a producer!
  11. May need a sound person with some gear for a live radio broadcast early Sunday morning 25 Feb; pretty simple, really, as just 4-5 people sitting around a table talking for a couple hours. studiomprd@earthlink.net
  12. One of our local SoCal film schools is planning to do a major upgrade of what is currently a "photo stage", and make it a suitable "sound stage" for its film program. It's not one of the heavily endowed and supported big name schools, but they have asked me if I know any companies that do such construction or upgrading, as they are looking for a couple bids. the space is ok size wise, but needs sound treatment (ceiling, walls, doors, the works!) and a lighting grid. Anyone notice who has built stages?? any ideas for architects or contractors appreciated.
  13. I am glad to see the direction this question has taken us. Years ago, it didn't take me long to realize what the "...then we'll use you on the (better) paying gig" promise is worth: that, and about $5 will get you a cup of coffee, maybe! Now, if someone I have been doing regular, decent paying work with askes a favor on a project, I'm inclined to go along, but that is after they have earned it! There are many exploiters out there who burn out crew members (and then spit them out) with those empty promises; they are Pros at it, and in fact, Dov S S Semans teaches the technique in his popular "Hollywood Film Institute" sessions -for which he charges plenty, does not accept "deferrals", or offer discounts!! (also, not to be confused with the legitimate Hollywood Film School, on Sunset at Vine). It is also common in the rare cases where the "wunderkind" actually gets "discovered" and given a real directing job, that now that there is good money involved, the folks providing said money will also insist on their PM, who will hire her or his favorite crew folks, and politely tell the "wunderkind's" friends that said "wunderkind" did go to bat for them, and strenuously, but that they are making the decision, and are "going another way" on this position! (This was even the plot of a movie starring Kevin Bacon a number of years ago!). That's what happened when Columbia Pictures (Sony) "hired" Robert Rodriguez (who had no sound crew on El Mariachi, anyway)... Sure, Directors, Producers and UPM's have favorites, and why not?? but frankly I'll bet it is far more about reputation, experience, attitude, set presence, and personality than it is about the specific equipment package or sound quality. Then there are those incentives: for example, to get the max incentives for shooting in Canada, only a limited number of Key positions can be filled from outside Canada; sure Canada understands that the Producer(s!), Director and Stars will come from (USA), but after that, the number is controlled. bring your DP?? OK, but that's one! The DP wants her/his Gaffer, That's two, The Director want's his "associate producer"/ 1st AD and regular favorite Script Supervisor, that's three and four, and the favorite Sound Mixer, with her/his regular Boomer, that's five and six, and one of the stars wants her/his favorite Makeup and Hair team (it's in their contract!)... whoops, now we are bringing too many to get the full incentive, so never mind the Sound team! and BTW, IATSE will organize a show and allow any low rates to continue (as long as they pay H&W, which is the IA's measure of success!). That has included $10/hr mixer and $8/hour boomer, and OT starts at 14, no meal penalties. All the IA changes is getting H&W hours.
  14. from the Wall Street Journal: "NBC Universal plans to cut spending on traditional TV by up to $750 million as viewers and advertisers move to new media. Layoffs are expected across the company's news departments -- including cable operations CNBC and MSNBC -- and the company says it will replace expensive dramas with game shows and other low-cost fare in the 8 p.m. time slot on NBC. "
  15. I've had "day players" sabatoge their lines to insure an extra day's pay! One lovely young newcomer who was working in a kitchen for her only scene in the show kept banging her props on her own lines...I've seen her rarely, since! I had a series veteran who mumbled during a movie, as he was used to doing on his show; seems they routinely ADR'ed him almost 100%, and he was ok with it.
  16. is anyone out there still using any Nagra's ?? any shows, anywhere?? if so, what models?? I'm trying to get information on the current status of Nagra recorders in the business. additionally, are the old mag film recorders and dummies still in active use on any shows, any type, anywhere??? Thanks!
  17. thanks for the links... I learned to call non-Diegetic music "score music" even if it was not composed specifically for the movie. I learned to call the Diegitic music "source music" even if it was composed specifically for the movie, as long as it was music that could be heard withing the story (like a radio playing, nightclub band, etc.) I'm now hearing that only music composed specifically for a project should be called "score", and even that doesn't seem to apply to Diegetic music composed specifically for the show! If the music was not specifically composed for the project as background, non-diegetic music, it is called, I'm being told, "source music" I'm just trying to find out the proper usages of the terms: "source music" and "score" music. anyone else that can add clarification, please...??
  18. need to brushup on the current terminology for movie music descriptions... i.e. score, source, etc. what do we call music that only the audience hears vs. what do we call music if the characters in the picture can hear it ??
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