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dustinguished

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Everything posted by dustinguished

  1. Earlier in my career, in a pinch I put a 4''x4'' piece of moleskin on a really hairy guy and then taped a mic in the middle of that. The moleskin didn't really stick to the skin, but to the hair and the whole rig ended up floating against his t-shirt. Amazingly enough it looked and sounded good...I had him remove the moleskin on his own time, I suggested he take it off in the shower.
  2. Thanks Derek, I think I'll take the same route you did and at least soldier on a new fml XLR end. I'm going to trim off about 4" and see if that does it. I'll probably end up sending it in, but I'll take any excuse to work on my soldering skills.
  3. I have a K-Tek 152CCR that makes a high frequency static like noise when I extend and retract the pole. When I'm not extending, it seems to sound fine. I made my own boom pole case from PVC pipe and about a week ago when I was unscrewing the cap, I had noticed the female XLR at the top of the pole, got caught in the square hole of the cap and took several twists before I could get the cap off. There was another instance where a camera guy stacked some equipment on top of the boom when I wasn't looking but I didn't see any damage from this and don't think that's the culprit. But I thought it was worth mentioning. I'm wondering if this is something I should try and fix myself- cut off about 4'' and soldier on a new XLR or maybe just replace the internal cable all together, or if you think I should just send it in.
  4. I finally got a new hip pouch after my other one broke down. I keep my moleskin, topstick, mini gaff tape, wireless accessory pouch and even a few leg bands in there, among other things. What's the best way to post photos on this site? did these come thru? https://www.icloud.com/photostream/#A95VaUrzLGbG5 https://www.icloud.com/photostream/#A9GtnIORGscPB3
  5. Also, the avid has a master fader, it's possible that it may be boosted 5dB in a menu that's not up much
  6. I really liked what Randy Thom had said about casting the right sounds, just like casting a group of actors. That's brilliant! and validating I've often spent a large amount of time finding or making just the right sounds and textures, and almost always found that it paid off in the end.
  7. Subtitles are the poor man's ADR! When I'm on a reality shoot and its impossible to get that line, in that shot, at that time, I think to myself: there's always subtitles then I eat a Luna bar!
  8. On some of the reality work I do, all I can do is cringe when hugs and chest thumps occur. But it does reinforce my tendency to put it on the women's skin when tapeing it to the shirt is also an option. . Sometimes, I find that placement works with certain hugs. It's muffled but it may have a shot of getting dug out in post with EQ with not too much clothing hopefully. As far as clothing noise while moving and environment, the sound source is generally the mouth and the closer you are to that, the more signal and the less noise you are capturing. But, at a certain point the closer you get to the source the worse the tone will be and what they have to do in post, to make that lav placement sound decent may bring up the worse part of the very street noise you were trying to reduce. In a perfect world we would never need to use EQ, but we do and we can make voices sound more natural with EQ but I think the hardest thing to work around is clothing rustle. So my priority is pretty favorable against clothing rustle. Of course the tone of the voice the subjects physical proportions and the circumstance plays a major factor as well. Which leads me to a question I've been wanting to ask yoll for some time. Wait no I know better lol
  9. Sometimes I'll loop a B6 cable and the mic In a moleskin sandwich for strain relief. That way there's some give if it gets pulled.
  10. I totally understand, thx for listening!
  11. Actually it's the latest IPhone version. I've had to train myself to hit the title screen on the top of the menu to get the master list of project files or the menu of profiles. It's definitely not a deal breaker but the only issue I've come across. It just doesn't have that natural flow of a folder within a folder that you can go into and back out of.
  12. It works great but its hard to leave one project file and see the master list of project flies, maybe I've missed it but I think a back button is in order Love the app, Thx!
  13. I know I can engage and bypass each channels' limiter individually but I would like to see threshold, ratio, and release time parameters as well. Or at least be able to have different limiting settings between the input channels and the output busses
  14. Hi Palmer T, I Like to go a few dB below the SMQVs' limiter, to get the best signal to noise ratio between the mixer output and the Tx inputs. I like to come out of my mixer line level, w cables I didn't bother to make because I'm too hesitant to take that risk of a cable going out in the field. But make sure they're wired to go into the SMQV line level, it's wired differently than mic level. I have a 788 so it's very easy for me to send out 0dBFS tone from my mixer and Dial the analog gain down just below the first red light n the transmitter. If you see the extra long clip spike on the receiver you'll know you're still hitting its compressor. I find some cameras give me no decibel reference at all and the only way to calibrate them to your receiver with any certainty, is to send 0dBFS out of your mixer. I also think that wireless gain varies and isn't as consistent in gain as cables. so I dial my limit, it just short of clipping limit of the camera. Then I fire up a mic and crank the pre and see if I can clip the cam with an audible "check" into the mic. I alway listen to it in each channel to make sure it's clean and similar to its feed, then I turn down my faders and make sure that the system isn't noisy. I think that hiss sound you were describing may be the noise reduction on the SR reciever end. I would turn them to "Off" on the SR menu settings. It's possible that you're using that lectrosonic noise reduction on the talents lav, as well as, your camera hop
  15. I use the mix bus limiters on my 788 outs, to cameras as a safety but I like to pop up my IFB feed about 5dB before the limiter to make the dialog more consistent for the producers. I could make them over easy and lower the threshold, but unfortunately that effects my input limiters as well. I wonder if a firmware update could ever give us better control of the limiters.
  16. They're not pushing them in the pool with my lav!
  17. I just got another email from that producer: Sorry guys but the job's been filled, lol.
  18. Hey guys, I got this job offer today and just had to share. Needless to say....good luck finding all that gear for that rate, by Tuesday. The gear requirements hardly make sence, ex: switchable IFBs to listen to all 5 lavs in iso. I may as well give em a 411 in group mode! Here's the email I received: You available to do audio for a reality show? Starts Tuesday and goes til end of month. Will be about 15 days of shooting. Pays $550 with gear. Gear list (or comparable): · 5 ea. Lavalier Wireless Mic (Lectrosonics SMV super-Minature Blck 22) · 5 ea. Wireless transmitters and receivers · 1 ea. Boom (complete) · 2 ea. Shot gun mic’s for Panasonic 900 camera’s · 1 ea. Mixer must be able to mix 5 wireless Mic’s (Isolated) and one Boom. (Sound Devices 552 Portable 5’CH · 1 ea. Recorder (Sound Devices 788T SSD 8-CH · 2 ea. IFB’s (must be able to switch channels to listen to each character isolated) · 2 ea. Earbuds for IFB’s · 2 ea. IFB transmitter and Receivers (lectrosonics UM400A Blck 22)
  19. I'm done w PreSonus boards. I had two live sound failures (not total failure- a restart did the trick) and no longer trust them as a pro board. The other time a channel went bad and luckily we had a backup with us. So if you can afford two of em.... Luckily I wasn't burned as they failed during rehearsals.
  20. In some environments with a lot of low end noise and in locations we probably shouldn't be shooting in anyway, I often find that flipping the phase of the lavs helps reduce the low end buildup at my headphones and helps me to discern my signal to noise ratio of my lav track and discern that from what's hitting my headphones externally. Of course this only helps in my ears, but I am making a lot of decisions and I think it helps me in really noisey locations. Great tips so far: lav mics closer to the mouths than normal, kill the music...keep it simple lol See what u can do to control ice and glasses,if you're right next to the bar that can kill your dynamics and hit your limiters Also, ask the director if you can ask for louder speaking from the talent, it usually raises their energy level (if they're capable of that adjustment) so tell the director it'll even raise their energy if you think that's what he wants to hear. I did a bunch of interviews for a national beer commercial in Chicago bars, the last time the Hawks were in the Stanley Cup. Every bar was packed and noisey! I found that asking the talent to speak up didn't usually work, but if I separated the two people in the conversation with more physical distance, they both naturally spoke up. Maybe you can even keep them from whispering in each others ears and keep some distance between the characters so they have to project their voices to hear each other.
  21. Well he did say it had to plug into his camera. But I think Home Depot even has a nice selection of professional TRS 1/8" cables to go right out of the H4N into his professional DSLR! Come to think of it, You can get AA batteries at Home Depot too they have everything for your filmmaking needs!!! If they don't have SDHC cards, don't sweat it, it's a mix to camera job. This Oswego is in IL btw
  22. LOOKING FOR BOOMSTICK OPERATOR FOR SHORT FILM (Oswego) I don't have a boomstick microphone. Must have one to hook up to my camera. Pay is 50 dollars for 2 hours of work lunch is on me as well. 10 minute short film. Meet in Oswego. If short film gets picked up already have a feature script ready and will offer you paying job with my production company. Location: Oswego it's NOT ok to contact this poster with services or other commercial interests Compensation: 50 dollars plus lunch. Posting ID: 3779148705 Posted: 2013-05-01, 8:04PM CDT email to a friend
  23. LOOKING FOR BOOMSTICK OPERATOR FOR SHORT FILM (Oswego) I don't have a boomstick microphone. Must have one to hook up to my camera. Pay is 50 dollars for 2 hours of work lunch is on me as well. 10 minute short film. Meet in Oswego. If short film gets picked up already have a feature script ready and will offer you paying job with my production company. Location: Oswego it's NOT ok to contact this poster with services or other commercial interests Compensation: 50 dollars plus lunch. Posting ID: 3779148705 Posted: 2013-05-01, 8:04PM CDT email to a friend
  24. Love it! I'm going to add that to my list of witty wisdom right before: "I'd rather be looking at it, than looking for it"
  25. Yeah it seemed a little fishy, but it was good to see what everyone's thoughts were on the "job"
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