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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

Profile Information

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

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  1. RPSharman

    What is your spare recorder

    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.
  2. RPSharman

    DPA 4061, Best prices?

    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.
  3. RPSharman

    Hows this for close to trouble ?

    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.
  4. RPSharman

    What to do with 600-698 MHz wireless systems?

    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.
  5. RPSharman

    Lectro SMDb RF Power settings

    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.
  6. RPSharman

    RIP Burt Reynolds

    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.
  7. RPSharman

    Dual Tumbleweeds

    What? What? Whaaaaaaaaat?
  8. RPSharman

    Comtek BST-25/216 on battery power?

    I know I feed mine 14v +/- all the time from the PSC PowerMax Ultra. But I don't think I have gone beyond that.
  9. 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
  10. RPSharman

    In ear monitors for production sound

    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.
  11. RPSharman

    In ear monitors for production sound

    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!!
  12. RPSharman

    Noisy Environments

    Regarding recording the ambiance toward or away from the offensive noise... I have found that in situations like traffic, car noise that's visible in the shot and such will still make the track even with the mic pointed in a "quiet" direction. I feel that a more consistent and less noisy underlying ambiance, with the most obvious things like trains and cars still making that track, would be more useful. But really all I get from post is that it was useful, and I have never really asked if it would have been better pointing directly at the cars and such. I would like to know 🙂
  13. RPSharman

    Noisy Environments

    You'd be very surprised with what they can do to clean up audio. It won't be ideal, but may be good enough, which seems to be the current standard requested these days for most productions. I did a scene about 4 pages long in downtown LA at rush hour. We had a snow machine hissing away above our actors. We had busses and traffic, and even someone playing trumpet down the alley. The actors were talking so quietly that they were unable to hear each other for their cues, even though they were sat next to each other on a park bench. They were facing forward, so couldn't see when each other spoke. Everyone assumed the scene would require ADR. Myself included. But it didn't. The resulting fix was not good if you listened to the scene on headphones, but not too bad coming from TV speakers. And this was 10 years ago with even simpler tools than they have today. Your solution of getting as much recording as possible for the dialog editors to work with is smart. Have the actors speak at the highest level they can that makes sense to the scene. Get the lavs close. Maybe rent a SuperCMIT and see if that will help too. Consider running the scene wild in a quieter area directly after the scene is over, so the performances can match to some degree. And run a separate ambiance track while you're shooting. Point it in the most consistent and least noisy direction, so the sound editor can use it to smooth out the cuts. This last part only works of the ambiance makes sense to the story. If you're shooting a piece that takes place in the 1700's and you hear cars and busses, then there's obviously no point. Good luck, and remember that bad producing is not your fault. Robert
  14. Hi all, Can you please send me a private message if you’re available to record a lav (to match production sound) on the upper west side tomorrow at 4:30pm. Just you with the actor in his apartment. Probably less than an hour to get some added lines. Tell me what you’d have to have for compensation. I know this is a simple job, but you’re representing me as the producer on an $80k film we shot a few months ago, so it means a lot to me. I’d prefer someone with narrative film/TV experience who works with actors daily. Boom ops and utilities are good too. Just want someone who knows the “vibe” of dealing with a layed back but very experienced actor. Thanks, Robert
  15. RPSharman

    Rechargeable Batteries for TX

    I haven't found that yet. I have learned to be careful with all rechargeables, as they all seem to come apart if you're not careful.