Ramsay

I think The Heart album was one of the best mixed rock LP's of the era . At the time, I was doing transfers at our lab here. I had an Altec a7 as my monitor and I would use our turntable used for auditioning sound effects to listen to the album. Some of the tightest and deepest low end and clear vocals I have ever heard. That year they opened for ZZTop. Needless to say I thought they were better!

We have done something a little different on the last few shows. I burn a DVD-R at lunch break-off and give it to camera when we return after lunch. At wrap I hand in a box with a blank DVD and a flash drive with everything recorded after lunch. The lab burns the flash drive to DVD. This gets us out of burning at wrap. Production really doesn't like paying the cost of burn time at wrap or the cost of DVD ram discs.

Great to hear from you take Take. Boom Recorder is still working flawlessly for me. By my calculations around 700 days on set so far! Sound editorial has often commented on the great sound reports and robust Metadata.

Sigh... a lovely looking machine to compliment my SXST8D, but that Nomad is looking like it's going to end up on my cart first. I need the additional tracks.

I've tested or used most of the popular microphones out there for interior dialogue. I have been using the AKG Blueline for many years. As many have said, personal preference can be somewhat subjective. I switched to this mic for a few reasons. Shoeps, particularly with thin female voices would record the sibilance so well that my ears would explode by the end of the day and my dubbing mixers would be using de-essers. The Newman's were subject to RF, were very tough with handling noise and the screw mount elbows and colette were a hassle. . A lovely sound, more round than the Shoeps and a distinctive quality to voices. The Senhheiser, as addressed in this thread earlier, would color off axis and I found the sound to be a little strident. Also it doesn't have elbow mounts. The AKG Blue Line is not the quietest mic built, nor is it the brightest. It has good accessories, seems to have a slightly better reach than other hypercards and in open or larger sets is a bit deader sounding. It is good with handling noise and has built in low cut and 10DB pads. I also carry and use Sanken CS3E's, Newman KMR81's/82s and KM140's. As many have said, different microphones respond to environments in different ways. The Blueline responds well in most int. environments. I use subtle parametric EQ (Sonosax ST8D) and different low end roll off's in almost every situation based upon room acoustics and background noise.

The Killing for AMC/FOX. 8 down 4 to go. Huge hours but good scripts and casting.

To mirror what others have requested: How about allowing the 788T to accept up to 12 actual inputs. 8 AES and 2 for mix would be very helpful as we are having to use more channels all the time. This is the only reason why I haven't purchased the 788T yet.

This was the only test that worked. All the others were off. 744T 48048 30ndf as master clock/sync source. Boom Recorder TC 29.97, clock set to spdif from 744t, hardware sample rate 48K, file sample rate 48K (not 48048). Motu Ultralight is acting as a pass through for TC to analogue track on Boom Recorder.

I've done 3 test settings and put them in to Wave-agent. The Boom Recorder files all show the digitizer rate as 48K, So I think the first setting of 29.97, 48,48 will cause the least amount of confusion (I hope). They are going to open telecine tomorrow as a favor. I'm going to take the 744 and BR files in and hopefully get some definitive answers. Thanks so much for the prompt replies. I really like Boom Recorder and I hope someday it works with 48048 without any cheats. P.

Hi Group, I have to start a show at the last minute and they are requesting 30ndf 48048 24bit. I've read all the posts and will be setting up like this 744T 48048 30ndf as master clock/sync source. Boom Recorder TC 29.97, clock set to spdif from 744t, hardware sample rate 48K, file sample rate 48K. Motu Ultralight is acting as a pass through for TC to analogue track on Boom Recorder. I think this is the "proven cheat" way of setting up Boom Recorder to record 48048. Any Comments? Many thanks, Patrick

He always showed up on set with a smile and hello for everyone. A great presence and gave great encouragement to the crew up here in Canada. I mixed JJ Starbuck, Wiseguy, The Commish, Scene of The Crime, and Profit for him. A gracious and appreciative person! Back on the days of The Commish, Chiklis and I would put on weird outfits for no particular reason. One afternoon I was fully dressed as a Babooshka (SP?) Lipstick, pumps, hair, the works. I was about 6'6". I'm walking down the precinct hall set and who turns the corner having decided to pay a surprise visit to the set! I was mortified. He walked right up and as he passed me he smiled and said "Hi Patrick". I said "hello sir" and it was never mentioned again. My cheeks didn't need rouge.

We are using them on Lectrosonics and Comtecs, but they don't always perform up to spec. As soon as they start to drop (after about 4 hours) we change them out. I have about 20 somewhat dead ones. I guess you have to weigh the environment aspects, cost and reliability when deciding if they are right for your application. We always have Procells standing by when we have a need for 100% reliability.

Good Info. John, Thanks.

American Beauty. And it's nice to think that someone like RVD had the opportunity. "The most Beautiful Thing" scene summarizes so much of what gives life deeper meaning. Life we miss if we aren't looking and listening. I've sat with my boys and told them that when I die, if they are looking for some answer to life, that scene is a good start, and if they want more, to have a look in my library for anything written by someone who's name they can't pronounce. I agree that there are very few movies made these days which have any lasting impression. Not that I don't mind a good bag of popcorn now and then, but really, aside from supporting an industry what are the bulk of the movies doing to grow our society as a whole? I'm probably expecting too much from an art-form which has evolved into big business. My hope is that as delivery technology learns to deal with copyright material and film-making hardware drops in price, we will see hundreds of new inexpensively produced films, made by people from all over the world with something to say. And these films will make money for the people who work on them. Not always millions, but perhaps enough to justify the amount of effort it takes to make a movie. Maybe by some of us on this group. We are in a unique position, because we know how to record dialogue. No small feat. Now if I just had a good idea....

Hi, Just wondering if anyone out there has a Sonosax ST8D with the Recorder module. I bought mine with the AD converters and a Mini R82 a few years ago. I sent the Mini back at the time because I didn't feel the software was up to speed yet. Is anyone out there using the internal recorder? Maybe contact me via PM. Cheers, Patrick

Get the amazing Take to sell you a copy of 7.22 and use a Mac running 10.5.8 and you're away to the races! Looking forward to version 9. Sorta like Christmas coming early.

I emailed Take last week and have not heard back. As you know he normally emails us back in a few minutes, so I would suspect he is very busy. Or??? It is a great program.

The Intel Mac I use Boom Recorder on is never upgraded. I'm just paranoid. I DID download a backup DMG of Boom Recorder just in case I need it. I still like the idea of retiring though.

Well I might as well retire then. Boom Recorder is genius! I use it 12-16 hours a day.

I just got back from watching the film. I have never commented on sound quality on this board, but I have to say, that was the worst bunch of mumbling I have ever not heard. The only dialogue I could hear decently was from the Clarke Gable excerpts recorded 80 years ago. Maybe actors have to perform such poorly written dialogue so often these days that the only way they feel they can say the words is to mumble through them like they have no meaning. The digital cinema images looked just as bad. I kept thinking I was watching a cheap EPK package. Michael has done some decent films in the past but this one really missed the mark both as a film and technically for me. He could have re-released Heat instead. My 2 cents and condolences to the mixer who had to sit through many weeks of doing the best job he could with what he was given.

My mother-in-law told me that she was on a cruise ship awhile back and she would meet a nice man every morning early for a run around the ship. He was a writer who she hadn't heard of but he opened up to her about many things and said he enjoyed the run with her every morning. He even invited her and her husband to sit with him at dinner. His name was John Grisham.

I was thinking back to only about 3 years ago when this website was full of so many questions on format issues track layout and everything related to switching in to the multitrack format. Our side of the industry has adapted so quickly to the rapidly changing styles of shooting and this website has been of great benefit. My Thanks to Jeff and all the knowledgeable posters who made the big jump much easier. We sorta create our own standards here it seems. A very organic way of adapting. Patrick

My most memorable was for the singer Bryan Adams. We were filming his rock video in a storage area for his road system. Not that huge a space. I had my 4s hooked in to their console which was outputting to 30 or so Carver 1.5p amps and then into a wall of speakers used during his live shows. They had me playing back at levels which were making my gut ache. During one pass the drummer motioned to me to turn it up. He looked kinda angry and I was fairly new. I cranked to a level. I had never experienced before. Puking level. The song ended and the first words I heard were from Bryan to me. It went something like this. "what the f...k, what the f...k were you doing you f...king idiot. It was at a thousand and you f... N turned it up to a million. I was afraid to say the drummer told me to, so I gave Bryan my best smile and said I liked the song so much I just really wanted to hear it. He looked at me like I was insane and mumbled about going deaf and told me to never ever do that again. The drummer actually came up to me and apologized at wrap. He was to afraid to tell Bryan that it was his idea.

Old school is right. Post or the lab will generally blame everyone else before looking in to the issues themselves. That's why it is important for us to know everything about other peoples workflow. Including camera. The show I am currently working on is cut using FCP and I work hard to make sure I know as much or more about it than the editorial dept. It has saved me more than once and forced them to think first rather than get embarrassed when they arrive on set with "an issue". The same goes for the transfer house. Also, don't be afraid to call Bull s**t when you know you are right. It gets the "panic first" dept. off your back.

Great thread, We were shooting awhile ago in a restaurant next to a car audio shop. We were just about ready to roll and then the walls started to "rumble". I sent locations in to talk with the owner of the audio shop and the owner said he had heard the sound before but there was nothing he could do about it. I then went in and wandered about saying I might be able to help "fix" the problem. The owner really didn't want me in there. In his office I could clearly see a tone generator running on his computer. I went to him and politely asked if we could shut his computer down for a minute to see if it might fix the problem. He said no, because he needed to keep the computer on because he has an on-line order system. I knew he had a subwoofer hidden somewhere and he was being an ass. I went outside and filled the nice police officer lady in on exactly what I suspected was going on. She went in, had him take her upstairs and came back a few minutes later. He immediately went in to his office. The rumble stopped. The cop had a good laugh!