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RPSharman

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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

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  • Location
    Los Angeles
  • Interested in Sound for Picture
    Not Applicable
  • About
    Production Sound Mixer - primarily features and TV.

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  1. RPSharman

    scorpio!

    I have reserved mine, and I will tell you all about it!! My plan, currently, is to use it as I do my 788T, with my PSC Solice. I will buy the iCon to add faders when I need extra faders. I have little in-line device that reads the power draw on 12v 4-pin XLR cable. I plan to use that to power the iCon, so I will report back on power consumption. I will now have my 664 in the bag, my 788T/CL9 on a mini cart of sorts, and my Scorpio on the main cart. Can't wait!!
  2. If your mix is peaking at 0 bBu (-20 DbFS), and your ISOs are -14dB below that, then it is too low. I have had post friends call me to complain about mix and ISO levels on shows with some mixers being way too low, and they ask what I do. I always tell them they should contact the production mixer and ask for higher levels. My mono mix is pretty hot (average conversational peaks at -12 dBFS), and knowing it's used for editorial, who don't want to be boosting gain for dailies, they and I seem to like it that way. But lately, knowing that I am on shows with extensive post sound schedules and budgets, I also keep the ISOs pretty hot too (peaks -20 to -12 dBFS). Recently I have been doing a lot of horror movies, so I let the limiters catch the screaming so the dialog isn't too low. I don't have enough hands to affect gain for multiple screamers. The show I am on now has three girls who run around screaming together a lot.
  3. There are several options, but the simplest if probably this... http://www.professionalsound.com/specs/rfSMA.htm
  4. Hi Mick - They're all pretty good. What you're "allowed" to use is a different story. I can put you in touch with some people who can give you the run-down. Are you on Facebook? Send me a massage there.
  5. I think it's smart that your back-up recorder has the same workflow as your main recorder. I have a 788T and a 664 that serves as a back-up and a bag rig recorder. Used to have 2x 788T, but found it unnecessary, and I like the 664. The spare 788T was dead weight. Although I might actually buy another if SD doesn't come up with something I like with more tracks. Since you have a 664, it'd be smart to have another of the same, or if you're just looking for a mix back-up to get you by until you can get another 664 brought to you, then a used 744T. The file naming and such is the same, and it's important to keep things simple for post if your one machine goes down. If I were you, however, I'd go for a 633. It'll add some capabilities.
  6. Every retailer will give you basically the same price. There are minimum allowable prices from all of our main manufacturers, and most of our specialty retailers will give you that price. Just ask. I tend to buy everything from the place that gives me the best service, and helps me out when I'm in need. But I do occasionally spread it around a bit.
  7. I've been up near there too. It is a bit easier now that transmission is mostly digital, so much less bleed. Nothing is on 216, really, and the only trouble I have had with 72 is emergency call boxes on the freeway. The new wide band gear really helps to find holes, and mostly we just need a handful. My biggest RF issues stem from walkies and wireless focus and camera control, spreading random and bleedy 2.4 and 5.8 all over the place. Glad it worked out for you.
  8. Yes. It really depends on how you feel. Mixers all over LA continued using Block 27/28 for years when they became illegal, and many still do. Until the FCC police come after me, or I have no usable frequencies, I am going to keep using my gear. When it is no longer viable, I will try to sell it off overseas.
  9. My guess is that they were changed to 100mW by someone with a factory code. They are probably a European model that was fixed at 50mW. When you switched it back to 50mW (where they are legally supposed to remain), it locked it back at 50mW. That's just a guess. Are you having trouble at 50mW? It really is enough for most situations, and better for many too.
  10. Worked with him on a movie once (Citizen Ruth - I think it was called eventually). And I recorded an interview with him at ASC when they were honoring his DP. Each time was a total pleasure. I was and am a fan. I've not been star struck too many times in my life, but Burt was certainly one of them.
  11. I know I feed mine 14v +/- all the time from the PSC PowerMax Ultra. But I don't think I have gone beyond that.
  12. Hello all, I am 5 weeks or so into a TV show with the Sony Venice camera. Here's what I have discovered. It's very quiet. Very very quiet. There are simple fan settings. Four, I think. Two that are for MOS stuff or hot exteriors. Two that shut the fans off while rolling. When the camera gets hot (which is does fairly easily in warm sets and rolling resets), the fan will kick on. We think it might actually be the recorder fan versus the camera fan, but we can't really run a test in the middle of shooting, so perhaps someone in prep can do a test to see what's kicking on. Either way, it's a fan that is louder than Alexa but probably similar to RED at 30%. Ok at a normal distance with one camera, but iffy up close with two in a small set. Unlike the Alexa mini that'll ramp up and down, making inconsistent noise, the Venice fan is consistent, with a pitch I can imagine being very easy to get rid of with basic NR. In terms of TC. We started off doing off speed stuff, which threw off the TC. It just went off a bit, unlike the Alexa which resets, so we didn't always notice. So there are now tiny lockits riding on the cameras. Before the ACs or DIT were just jamming. Haven't heard anything from anyone regarding TC, so can't really comment on it. They must be syncing from slate or just taking care of business without troubling us. Never heard from them when we KNEW the TC was off, so there you go. Professionals. It's big. Not really our problem. It eats batteries like no business, and has some issues with power from our stedicam, which has caused some problems, including dropped clips. Our DIT reloads all the time, even though the card will hold 90 minutes!! He does it to keep up, but also because one bad clip can corrupt the card. The camera has shut down a few times. I think we have lost 2 cards with bad clips. They've been sent in for data recovery, but who knows. We made sure we had the shots we needed on the new card. I don't run sound to camera, so don't know how good the sound is. But I'm guessing it's great. The Sony cameras have always been good. Cheers, Robert
  13. I find there to be no cable noise in my Westone UM Pro 20s, and I also turn my headphone feed way down. As I mentioned before, I use the smallest silicone tips to allow some escape for loud surprises, and to hear some ambient sound around me. It's my intent, however to try a more fitted tip when I'm stuck outside when recording a quiet scene inside.
  14. I recently started using UM Pro 20 (Westone) and find them great! I use the smallest silicone tips so I am not completely isolated from the outside world, although my crew and other crew members certainly noticed I can hear them far less than before. I started by listening to takes I had recorded when I wore my Beyerdynamic DT250s. It helped me get an idea of the differences. Then I used them for the last couple of weeks of a show I had mixed for 2 seasons, so I had heard the same actors on the same sets with the same boom operator. It helped me feel confident that I knew what I was hearing. Now I won't look back. The ease of using in ears vs. big phones is truly immeasurable for me. I can wear sun hats and winter hats, as required. And my ever-thinning hair doesn't end up in a rooster tail by lunch!!
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