Ramsay

No generator, no lights, no tow car running. Let's just use the boom!

Great story RVD! Is there such a thing as an ear strain of pot?

Peggy, I agree. I have a very strict faders down policy on set and my boom op. and sound assistant are there as backup in case I forget for some reason. The only time I leave the mic's up is during tow shots and then only after telling the actors. Once we complete the scene I am faders down until the actors leave the vehicle.

I just listened to the remix. See what you can do with a nice clean recording! That is a great remix and funny as hell. I too have been on set for many actor/crew outbursts. They always seem to blow over. Hell, it's a creative high pressure business. These things happen. Who of us hasn't thrown a chair, kicked a garbage can over or heaved a set of dt48's at one time or another? OK I admit, I've done all three. A good one was many years ago on a TV series when the electrics had wired C-way through the set walls and the whole room was vibrating with 60 cycle hum. I threw one of those squeaky folding chairs into the studio wall and it stayed stuck there for a month. Needless to say, the set got rewired pronto. I had young kids at home and was a little stressed. I'm better now.

I found this recording on TMZ of Christian Bale having a bad day on T4. It's a great mic'ing job! What a Biz.... http://www.aolcdn.com/tmz_audio/020209_christianbale.mp3

I have just been recording tests to USB flash drives with Boom Recorder and haven't found a drive fast enough to consistently record 10 tracks without filling up the ring buffer. So far I've tested (fastest to slowest) the Xporter XT 8GB, and Corsair 8gb. Attache 8gb. I'm wondering if anyone has any experience with this method of recording, I've never had a problem recording to an external USB Hard Drive but I thought it might be easier recording to a Flash Drive. Thanks, Patrick

I met with Pierre up here in Van. After looking closely at the machine we talked about a couple of things which for me might make the recorder more useful. In my current setup I find myself using all of the Sonosax SXSTD outputs sometimes plus my mix. I suggested to Pierre that he could take one or two of the analogue inputs of the SXR4 and allow the user to route it to the CF card. This gives the recorder 10 recording tracks if the other 8 AES inputs are being used. This might be possible in the future. We also discussed the the possibility of using the front volume knobs to create a mono mix while simultaneously PFL'ing the same channels to individual recording tracks. This is not possible with the R4 but will be possible with the larger 62R not yet released. One of the features I have been using on the 744T is the spdif i/o. by using this in conjunction with a Motu Ultralight I get 10 inputs working in to Boom Recorder. Pierre thinks it will be possible to add an AES/SPDIF I/O capability to the R4 in a future rev. The R4 is a very nice looking machine. Inputting metadata is not fast but possible.

Hi, I'm wondering if anyone knows of a sound crew willing to work two days of Stargate Atlantis in Vegas? Many Thanks, Patrick

I use the T4 as a feed to my Boom and Cable people. They find the range much improved over the T1 and rarely get hammered by interference. Sonically, the T4 is much better than the 216. Personally, I want my boom operator to hear as close to what I hear without having to go with a cumbersome hard wire feed. We use the 216's as a set feed(s) and have not had any complaints. If you set the 216 up properly and don't over or under drive it, it sounds pretty good.

That Mission to Mars shot was mixed by Rob Young and myself (Ramsay). Two 8 track Sonosax's fully loaded. I forget what we recorded on but was fun and pretty rare to have that many well known actors all in one scene.

I bought my kids a PS3 for Christmas partly because the Blu ray was built in. The unfortunate thing is that the remotes are bluetooth only so any control of the DVD player has to be through a Sony Bluetooth remote. With many components to control in a home theatre it's a drag that I have to use a different remote solely for the DVD player.

Thanks guys for the info. I've been shooting nights and it's been tough to access internet. These are really good ideas. I guess the bottom line is that there will be a solution. I'll pass this on to Post and try to distill it myself. I'll keep everyone up to date with whatever solution we end up with. BTW I'm shooting my 5th movie now using Boom Recorder. It's really held up well. So has the Sonosax ST8D. It has proven to be extremely flexible for an analogue mixer. I just read that the new Cantar system software program allows us to remix takes after the fact. I'm not a Cantar user (yet) but this is really interesting news. Cheers, Patrick

Hi, I was wondering if anyone has any experience with the workflow from FCP to Protools. I'm going to be working on a show where they have been recording audio directly to the Panasonic 900 cameras and then sending the OMF files to audio Post once the shows have been picture cut. I'm going to be recording to Boom Recorder and sending the mono mix to the cameras. The problem is this: Last year on this show the dialogue editor had to manually load any files he needed from Production Audio. The OMF files sent from Editorial were used as the main audio for the final dialogue mix but any time the dialogue editor needed to go in to the original audio splits to find a track, he had to figure out what sound roll contained the original audio and then manually load it. Has anyone heard of a system where a show edited on FCP can export a proper audio EDL which can be used by audio post to load the original tracks when recorded double system? Thanks, Patrick

Thanks! I like the versatility and look of the Shure mics. I think I'll try to show them first...or maybe last...You know those actors!

P.S. The actor dosn't want the plug on transmitter look.

Just wondering if anyone has any personal favs when it comes to handheld wireless mics. I'm going to do a show and tell for the actor next week and understand he is looking for something fairly small without a wind cover. He doesn't want his character to wear a head mounted mic either. He will be on stage inside for his dialogue and I will wire and boom him where possible just to CMA. Thanks and Happy New Year!

I've done tests up to 15 minutes but in the real world I would say the longest take was about 8 minutes. I've done 4 movies without any issues using Boom Recorder and the external drive so far.

I've always used an external Maxtor 100gig One touch with Boom Recorder. I have only recorded up to 10 tracks tho. I have shied away from hubs just because it is another thing to go wrong. My Motu Ultralight uses the firewire input on the macbook so I'm only left with usb conections for the external drive.

Nice looking update Take. I am so happy with the current release, anything new is a bonus. Just wondering...were you ever able to get Boom Recorder to recognize the files from the 744T so that if I have to go ultra mobile, I can import the files (and modify the meta-data) in to the current 'roll' on Boom Recorder and keep my sound reports up to date? Cheers, Patrick

I only record the tracks I need and always poly. No complaints from Post and lots of space saved on my HD, also less strain on the system (but I don't know if it really matters). I also like Post to know from the start that whatever track count shows up, each track is always 'loaded' with something so there is no "I wonder if there is something on this track?" questions. I was worried that through the course of a complicated scene the characters mics. sometime show up on differerent tracks depending on who I am recording but there have been no issues so far. The note field always shows who's on what track for easy reference. Track 1 is always the mono mix.

The 211 is a non digital receiver and should work with the transmitter.

Yes it will. However, if you get the "UH200D" model it will also be able to power a 48V mic.

Now if they could just make it the size of an Ultralight, DC powered, and 32 tracks of audio only...

The wheels are replacement wheels for 'Foldit' carts and I had special effects fabricate the mounts. They welded an aluminum 'tray' which the cart sits on and the hubs are aluminum posts with an aluminum retaining 'thingy' (I don't know what it is called) so the wheels can easily be removed. Hope this helps.

Yep, that's it. Just a note, I doesn't allow you to change aspect ratios like some other T.V.'s