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Marty Atias

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About Marty Atias

  • Birthday 01/01/1

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    http://ATSComms.com
  1. Being a short tubed shotgun, the 4073a is better for indoors rather than outdoors, though in a quiet environ it will be more forgiving of position. What I never liked about the MKH 416 is that it gets fairly omnidirectional from the low-mids and down, causing it to pick up lots of muddying rumble like traffic, air handlers, etc. The Sankens (CS1, 2 & 3e) are more directional in the low freq range, giving them a smoother off-axis response without the need to hi-pass them.
  2. Give us a call ATS Communications 301-754-2871
  3. Why baking tape is a proven BAD idea, and how to solve the sticky shed problem permanently http://www.rezerex.com
  4. M-Audio has a couple of interesting digital mixers. They are not perfect but well priced, sound very good, interface well, and also double as a control surface for recording software. http://www.m-audio.com/products/en_us/ProjectMixIO-main.html http://www.m-audio.com/products/en_us/NRV10-main.html
  5. Jason, Sounds to me like you've got a number of issues on this project from lack of planning by the producers, to a lack of understanding of the audio limitations by the camera ops. As far as time code sync, I'm sure you understand that the two cameras and the audio recorder need to be in sync. One way of doing this is to assign the audio recorder as the master TC generator, using wireless links to each camera (one transmitter, two receivers), and slaving them to your master. Then it doesn't much matter if or when they start or stop, as long as the audio recorder rolls continuously. For audio, I'd recommend a mic transmitter on each talent plus booms & guests. Audio from the receivers go direct to DA-88 tracks. Out of the DA88 to the mixer for monitoring and wireless audio camera links for guide tracks. By my count, you're looking at 14 transmitters. Frequency coordination will be extremely important to avoid them interfering with each other (intermodulation distortion). Since this is an ongoing show, and they do this on a regular basis, how much of the gear does the prod'n company own? If they own the wireless, I would suggest that this is a perfect application for (wait for it......) a new Zaxcom recording /wireless system! No frequency coordination, stereo transmit to the cameras, record iso tracks inside each transmitter, no time code sync issues, Snap! A no brainer!
  6. Marty Atias and ATS Communications of Silver Spring, MD, in association with the ITVA's Washington DC chapter & Interface Video, will present ITVA's first "First Thursday" meeting (held on the 2nd Thursday this month, January 11) on Direct To Edit Recorders for video & audio. For Video, we will focus on the work flow involved when using the Firestore Digital Video Recorder for P2 & JVC cameras. Jon Robertson of Symco (Rep for Focus Enhancements, Firestore's manufacturer) and Ken Freed (from JVC) will demonstrate the work flow from shoot to edit. In addition, Ken will introduce and discuss JVC's new GY-HD-110U camera, and Jon will discuss Focus Enhancements' Proxys media server. For Audio, Marty and Glen Sanders (Zaxcom's President & lead designer) will demonstrate & discuss Zaxcom Digital's new TRX series of Recording Wireless products, which transmits digital audio from a microphone while recording a time code stamped digital audio file right inside the transmitter. Thus files from each mic, which are RF free, can be transferred and dropped into the video editing time line and also emailed for transcription. This new work flow has many inherent advantages, simplifying and improving the reliability of acquiring audio in the field, and increasing the editing options available in post. It also addresses the issue of disappearing radio spectrum available for wireless mics. The meeting is open to all, and there will be a networking reception preceding the seminar with appetizers & drinks. Date: January 11, 2007 Time: 6:30 reception, 7:30 seminar Place: Interface Video, 1233 20 St NW, Washington DC 20036 Contact: Marty Atias 301-754-2871
  7. Marty Atias and ATS Communications of Silver Spring, MD, in association with the ITVA's Washington DC chapter & Interface Video, will present ITVA's first "First Thursday" meeting (held on the 2nd Thursday this month, January 11) on Direct To Edit Recorders for video & audio. For Video, we will focus on the work flow involved when using the Firestore Digital Video Recorder for P2 & JVC cameras. Jon Robertson of Symco (Rep for Focus Enhancements, Firestore's manufacturer) and Ken Freed (from JVC) will demonstrate the work flow from shoot to edit. In addition, Ken will introduce and discuss JVC's new GY-HD-110U camera, and Jon will discuss Focus Enhancements' Proxys media server. For Audio, Marty and Glen Sanders (Zaxcom's President & lead designer) will demonstrate & discuss Zaxcom Digital's new TRX series of Recording Wireless products, which transmits digital audio from a microphone while recording a time code stamped digital audio file right inside the transmitter. Thus files from each mic, which are RF free, can be transferred and dropped into the video editing time line and also emailed for transcription. This new work flow has many inherent advantages, simplifying and improving the reliability of acquiring audio in the field, and increasing the editing options available in post. It also addresses the issue of disappearing radio spectrum available for wireless mics. The meeting is open to all, and there will be a networking reception preceding the seminar with appetizers & drinks. Date: January 11, 2007 Time: 6:30 reception, 7:30 seminar Place: Interface Video, 1233 20 St NW, Washington DC 20036 Contact: Marty Atias 301-754-2871
  8. Marty Atias and ATS Communications of Silver Spring, MD, in association with the ITVA's Washington DC chapter & Interface Video, will present ITVA's first "First Thursday" meeting (held on the 2nd Thursday this month, January 11) on Direct To Edit Recorders for video & audio. For Video, we will focus on the work flow involved when using the Firestore Digital Video Recorder for P2 & JVC cameras. Jon Robertson of Symco (Rep for Focus Enhancements, Firestore's manufacturer) and Ken Freed (from JVC) will demonstrate the work flow from shoot to edit. In addition, Ken will introduce and discuss JVC's new GY-HD-110U camera, and Jon will discuss Focus Enhancements' Proxys media server. For Audio, Marty and Glen Sanders (Zaxcom's President & lead designer) will demonstrate & discuss Zaxcom Digital's new TRX series of Recording Wireless products, which transmits digital audio from a microphone while recording a time code stamped digital audio file right inside the transmitter. Thus files from each mic, which are RF free, can be transferred and dropped into the video editing time line and also emailed for transcription. This new work flow has many inherent advantages, simplifying and improving the reliability of acquiring audio in the field, and increasing the editing options available in post. It also addresses the issue of disappearing radio spectrum available for wireless mics. The meeting is open to all, and there will be a networking reception preceding the seminar with appetizers & drinks. Date: January 11, 2007 Time: 6:30 reception, 7:30 seminar Place: Interface Video, 1233 20 St NW, Washington DC 20036 Contact: Marty Atias 301-754-2871
  9. Marty Atias and ATS Communications of Silver Spring, MD, in association with the ITVA's Washington DC chapter & Interface Video, will present ITVA's first "First Thursday" meeting (held on the 2nd Thursday this month, January 11) on Direct To Edit Recorders for video & audio. For Video, we will focus on the work flow involved when using the Firestore Digital Video Recorder for P2 & JVC cameras. Jon Robertson of Symco (Rep for Focus Enhancements, Firestore's manufacturer) and Ken Freed (from JVC) will demonstrate the work flow from shoot to edit. In addition, Ken will introduce and discuss JVC's new GY-HD-110U camera, and Jon will discuss Focus Enhancements' Proxys media server. For Audio, Marty and Glen Sanders (Zaxcom's President & lead designer) will demonstrate & discuss Zaxcom Digital's new TRX series of Recording Wireless products, which transmits digital audio from a microphone while recording a time code stamped digital audio file right inside the transmitter. Thus files from each mic, which are RF free, can be transferred and dropped into the video editing time line and also emailed for transcription. This new work flow has many inherent advantages, simplifying and improving the reliability of acquiring audio in the field, and increasing the editing options available in post. It also addresses the issue of disappearing radio spectrum available for wireless mics. The meeting is open to all, and there will be a networking reception preceding the seminar with appetizers & drinks. Date: January 11, 2007 Time: 6:30 reception, 7:30 seminar Place: Interface Video, 1233 20 St NW, Washington DC 20036 Contact: Marty Atias 301-754-2871
  10. I've been intrigued by JADOO's hydrogen power cells. They are very efficient, but priced like Anton Bauer bricks & chargers. You also can't fly with them. Marty Atias
  11. As probably the first vendor to start promoting the Ultrasones (and turned Eric on to them), I can confirm that while the Proline 750's are great for music, the HFI-700's are best for production dialog work. While the effects of the offset drivers are more pronounced for some people, most appreciate the lower fatigue, increased isolation, and smoother frequency response. We often replace the stock straight cord with a coiled cord terminated with stereo mini plus 1/4" adapter and does not void the warranty. Always be sure that the cord is on the left side of your head. Marty Atias
  12. Another way to look at it is that Zaxcom's new system replaces several pieces of gear - wireless mic, wireless IFB or camera return, transcription recorder, backup or 2nd system recorder. Added up, the TRX is a very economical purchase. BTW, for those in the Washington DC area, we will be presenting a seminar on January 11 on Direct to Edit recording and work flow, including the TRX-900 & IFB-800 for audio and the Firestore for video. After discussion, a live demonstration will show how shot footage from both gets brought into an NLE for editing. Details forthcoming, watch our web site for more - http://ATSComms.com Marty Atias
  13. Hey thanks folks, It's nice to see Jeff's forum so busy. I've been reading Billy's posts with interest. While he is indeed using them to back up his radios (appropriately prudent), I am surmising a point in time (down the road) where they could become primary audio, a sort of virtual multitrack recorder, with the RF's being backup. An ISO track of every mic gives post the ultimate flexibility in the final mix. In this I am referring to the TRX package rather than the ZFR alone. This may be more appropriate for some types of production (video, television) than others (film), but it is an intriguing concept.
  14. Kudos Mike, for being ambitious enough to really learn the craft of mixing and recording. I almost said "location sound", but this all would apply to studio work as well. There are several good reasons for doing a mono mix. The most important is to verify phase and mono compatiability. Even if you are not recording a ful mono mix, it is the best way to check that when the tracks get mixed in post, that they will be phase coherent. Jeff mentioned the benefit for editorial, and others bacause it is good practice (as in the right way to do things). However, when faced with limited recording tracks, one needs to weigh the value of a mix vs. iso tracks. Once you mix, it is committed to tape. Iso's can be individually manipulated in post. As for the technical considerations of doing a good mono mix, Doug talked about "phase". Phasing mics is the biggest enemy of all mono mixes. When you have moving mics hoever, there is no way to avoid it so you must deal with it. Manually ducking faders is one way, but it invariably leads to changing background ambiance. Even the most adept fingers cannot correct that mics in different places on a set, facing different directions, on different clothing, will pick up different sounds. That is where "room tone' comes in, if not from the actual set on a separate track, then artifically added in post. Mixed under the mics, this low level "noise" can smooth transitions between mics in a mix. Good quality auto mixers can be very effective and surprisingly smart at determining which mics should be on and off, and they can be set to only attenuate "off" mics by only a certain amount, thus smooting transitions. Doug's discussion of "Phase" was almost right. So here is my technobabblical explanatoration, for those awake enough to care: That strange hollow sound is called the "comb filter effect", and is caused by one sound mixed with a copy of itself slightly delayed. The term "phase" is a relative quantitiy, and as used in this context, means the time difference between two identical waveforms, or sounds, expressed in degrees. Basic fun-da-mental: A single waveform, as seen on an oscilloscope, rises from zero level to a maximum positive value, then falls back to and past zero to a maximum negative level, then rises again to zero. All of that occurs within 360 degrees. Where it crosses zero in the middle is 180 degrees. The maximum level occur at 90 & 270 degrees. Sound waves, whether in air (acoustic) or in a wire (electric), all follow the same pattern of waves, excpet acoustics is measured in air pressure instrad of volts. When air pressure presses "in" on a mic diaphragm, it should be converted into a positive electrical voltage. If it is coverted into a negative voltage, it is said to be of opposite "Polarity", which is an absolute term. It is either positive or negative. Two mics are said to be "In Phase" when they: 1. are of the same polarity, and 2. are equidistant to the same sound source. Their wave forms will overlay exactly. Comb filtering means that the parts of the two waveforms that are both positive and overlapping add together and get louder, while those parts where one is positive and one is negative, subtract or negate each other to get lower in volume. If the two wave forms should be 180 degrees out of phase, they will completely cancel each other, resulting in no sound at all. So when two actors each with their own lav mics are facing each other, each actor will be heard by both mics, but the sound at the other actors mic, being further away, will be delayed, and a mix of the two will be not be "in phase". This is also a reason never to mix a lav with a boom mic. The difference in distance will result in a phase delay. However, some high end location mixers can correct these time differences to bring two mics into phase. The phase switch on a 442, for example, swaps the polarity of one input by 180 degrees. Sometimes, that is just enough to make a mix acceptable. A very few mixers are capable of more precise time correction. Keep in mind that time and phase correction can be done in post only if they have iso tracks! I'll stop here, I hope that is of some help to someone.
  15. Hello all, I am happy to be joining you in this most prolific, thoughtful and civilized forum. The XFR-100 should start shipping within a couple of "Zaxcom" weeks. However, the recording function is available now on the TRX-900 & 990 transmitters. I'm really looking forward to showing this off to prospective users. IMHO, this new technology could very well be a turning point in how audio is acquired and stored on location, and how it is ingested and married to video in post. Just imagine no longer being limited by the number of camera tracks, the quality of inputs or recording on the camera, actors stepping on each other's lines, or even clean RF channels. Every mic will have it's own TC referenced digital recording, and each mic will have it's own NLE track for the editor to mix.
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