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Wyatt Tuzo

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About Wyatt Tuzo

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  • Birthday January 1

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  1. FFS, just buy an Re20 or two and be done with it. If you don't want to buy, find a way to rent. Dynamic is going to give you far better isolation than a condenser. May be cumbersome, but you'll have to make the convenience vs. quality trade-off consideration for yourself. Don't buy and return... that's childish.
  2. Maybe I've been fortunate... maybe it's just the work I get, but I've literally only had this requested of me once (and I told them that maybe I wasn't the right person for their job). In terms of beating w&t's I wonder whether its a self fulfilling prophecy, born of asserting our expectations early on... or if it's just dumb luck, but I've really only had one DP give me a headache about this. I feel like, in my experience, once people see that there is a reason behind what you're doing/asking, they are willing to work together toward the same end. After all... its a collaborative medium. Generally speaking, It's my approach to try to cover a scene with as few sources as I can get away with. A mentor once phrased it to me: "it's our goal to sell the illusion that the entire scene was recorded with a single microphone". While he was talking more specifically about the production mix (and keeping bg levels and tone consistent), It's something I always strive for (and It's my taste to arrive there through the booms, first and foremost)
  3. In my world of narrative mixing, that is a pretty big reason. I mix mono, and strive for what (to me) sounds like a finished dialog mix. I will wire for characters or individual lines as needed, but the booms are primary 90% of the time. Another thing that I would have trouble listening for in a "split mix" is background consistency. Is this an issue for those of you working this way?
  4. Have a look at the serial number band on the mic cable. If it's normal sensitivity, it will be silver and black, if it is reduced sensitivity, it will be red
  5. If it were for me, I would also add front casters. How about the drawers opening not to the front or back, but to the side? This would allow for a flip-down shelf below the back handle which could be loaded with carpets (with the handle as an upper retainer). You could also move the cart with the drawers unlatched with little worry. The table top could be stowed on the "front" (opposite the handle and wheels) Now that i'm writing this, I realize that I may have just turned it into Greg Sextro's follow cart, which is a brilliant design
  6. Looks to draw approx 1.35A with both monitors powered on
  7. I use Ram mount hardware. Seriously durable.
  8. One other potential pitfall I see with the increased resolution of these cameras, is the ability to reframe in post, without a downgrade in the deliverable resolution. I know it's happening already, but I wonder if we'll get to a point where it's more commonplace. It would be a shame to have to start wiring everyone, just in the event someone decides to reframe a master into a cowboy (or worse) in post. I don't know that it'll quite come to that... Just musing
  9. There are a few points to "MixAhead" that I still don't quite understand. If the algorithm allows missed cues through to the mix track, would it, by the same course, cut fade-outs early? Additionally, at least in the narrative world, so much of what we do relies on fader balance and timing. I need to be able to crossfade from, say, a wire to the boom (or any ratio thereof) while listening for phase and balance. I see MixAhead as a potential detriment to this process. Personally, I don't really see much of a problem of missed cues in my world. Maybe in doc/reality? Maybe the occasional ad-lib...but I still feel the potential detriments that I mention above would outweigh the occasional benefit, as post still has an Iso they can salvage a line from.
  10. That's all fine and good, but I'm just curious as to why you felt a need to start this topic. To me, your post seems to be dripping with subtext. Maybe I'm reading into it more than I should.
  11. I don't know how I would compare them to 7506's, but I recently had to replace my earbuds and ended up getting Westone W-30's. I'm quite happy with them so far. They may not have as much of a smile curve as the 7506's though, if that is what you're used to. I was looking for something to replace my etymotic er4p's, but with more bottom, and these fit the bill nicely. They are the first in-ears that Ive found that come close to living up to the detail of the Ety's, but again, have better low representation. Westone has the W line (which I think is more tuned for music listening), and the UM line (which I suspect is flatter, and more tuned as a stage monitor). Both have their fans for all applications. All I can say is that I'm happy with mine.
  12. For very short runs (on the cart or in the bag), I'm generally happy with rg174... It's somewhat lossy, but I find it negligible at these lengths. Can't get any more flexible.
  13. My only issue, personally, with the mobile browsing, is that my "unread" messages default me to the head of the topic (meaning I have to scroll through every message in the thread before I get to my most recent unread)
  14. Use fewer mics? Really. You say this scene is scripted. You have two boom ops. They should be able to follow a bulk of the dialog. I suppose I just don't understand the need to wire everyone. You may need one or two wires for a tough swig or reflection issue, but aside from that, two competent boom ops should be able to cover you
  15. I figured that was the scene you were referring to, but wasn't aware that episode had aired yet. Unfortunately for us, it was a sensitive practical location. Our steadi Op was working very hard to help us with the situation. Shoes were removed, floors were covered (yes, the odd case of carpets being allowed!),etc. Dance floor would have worked nicely, but we are a no dolly show. We lobbied for (and got) static shots, as well as plenty of room-tone... I haven't seen the episode yet, but unfortunately, it doesn't sound like they were put to use in this case. Thanks for the kind words. It's a very unique and rewarding show to be a part of... despite the occasional need for compromise.
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