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Mike Wally

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Everything posted by Mike Wally

  1. Mike Wally
    B6 ftw
  2. Mike Wally
    I was the only person in the theater going, "LECTRO SM!!!!!!"" in my head...I got excited that he was using one as a prop. I wish I had one :/
  3. Mike Wally
    I'm there.
  4. Mike Wally
    Also:
  5. Mike Wally
    416. End of discussion. The only place the 416 leaves something to be desired is when you're interior and there are like 4 actors all standing around one actor in close proximity talking to each other. That's when a hyper-cardoid really shines. It doesn't have the most warm sounding pickup that Schoeps is known for, but it can thrive in the heat, cold, humidity- and takes what ever you can throw at it. I've used only the 416 with my kit, and I've come away from multiple high-noise environments completely shocked at how my recording came out well. I will swear by my 416, and will never let it leave my kit .
  6. Mike Wally
    Agree with what most said above. I was taught to aim for the chin generally, which splits the difference. You're supposed to be able to follow their head turns and shifts as a boom op. It also depends on what mic you're using; 416 Shotgun is more directional than a Schoeps MK41 hypercardioid - you have more leniencey with the MK41 but it doesn't have the same off axis reflection as the 416, so where you place it varries depending on the type of polar pattern. Also, 110% agree with just listening and finding what sounds right - trust your ears.
  7. Mike Wally
    Ok, then the software is just fucking up then. It happened yesterday on set, and I lost the take (even with it recording to the last second, It still ruined the take). The Red had one mess up yesterday as well, so they evened out. The Nomad is very reliable, it's just weird this is the first job I've ever had it freeze.
  8. Mike Wally
    No worries. I'm using the Nomad for the first time on a Feature film as just a mixer with my own boom op. I'm able to apple meta data very easily when not handling the boom, have been running 4 lavs in some shots and a boom. I've had a few freezes, but I think it's from the unit overheating, being as it was like 100 degree's today. It's the only time i've ever had freezing.
  9. Mike Wally
    UPDATE: So, the ERXTC with the custom cable works perfectly. I'm able to stream timecode from my Nomad6 to the Red Epic while sending scratch track as well. I went into the set up on the ERXTC, and disabled the variable control. And set the unit to 12db (maybe it was -12, will check tomorrow) There were a few settings on the RED itself I had to change in the TC menu and set up menu, will write a full report when I have time. Othewise, it's been working great. No problems yet .
  10. Mike Wally
    Been experimenting with the limiter on my boom track. The neverclip is kind of cool, the white line goes against the meter bar to show it's preventing it from peaking. Everything sounds good so far. Also, since i've set up this Mix, and the understanding of Post fade vs Pre-fade has made my mixing all that much easier. It helps having a boom operator for once as well. Other than production sucking, this job has gone well technically. thanks for all the advice, guys.
  11. Mike Wally
    I'm sorry, but I'm too awed by the fact that you're the Sound Mixer on THE HOBBIT to interpret anything technical you've said, TJ. Good point on the SSD's, though. Less is more, i think. 20 minute longtakes/booming scenes FTW! -.-
  12. Mike Wally
    Thanks Ryan!
  13. Mike Wally
    So, I set it to tip or ring? Is there anything I'd need to do on the actual camera? Thank you for the quick response!
  14. Mike Wally
    Hello, I was wondering if anyone has had experience setting up an ERXTC with a custom cable with Mini-Stereo (scratch audio) and 4-pin lemo (time code) going into the RED Epic. Are there settings I should be aware about? I'm assuming the Camera Dept will know the camera well, but I just want to make sure I'm as prepared as possible for it. Thank you, -w
  15. Mike Wally
    +1 For the Kartwich bag My Versa flex has a lower back strap, but a specific belt might be interseting. I elected against it, but it could be cool.
  16. Mike Wally
    No, ta-da's, I appreciate the advice . However since you don't know me other than this forum; I know these are simple questions, but the responses I've gotten have all helped explain the new equipment much better to me. I also spoke with a few other friends who also got the Nomad and feel much more as one with the unit now As far as mixing and doing sound, I spent my first year mixing features, ENG, shorts, docs, using a zoom and a 302, so I didn't just 'buy" gear and declare myself a mixer. One of the features I mixed has won audience awards, and I've worked on a lot of projects from big to small. I have boomed and work with a lot of amazing and highly experienced mixers, my mentor and the most influential mixer I've worked with uses a FR-2/Wendt X3, and the other a 744. I've worked with the 744 as well all through 4 years of film school (where I started mixing). I am of course always pleased to work for other mixers as a boom, and enjoy constantly learning and growing with the job . Good to know, will experiment with the limiters.
  17. Mike Wally
    Oh. So that's why when I play with the trim, I hear/see a difference when I'm monitoring off the iso's....
  18. Mike Wally
    That is exactly what I needed to hear. I now completely understand everything you just said, and my world has just changed. Thank you Matt. I will indeed switch it to Track 1. So the mix is what they get, then they have the iso's for backup. When I said it didn't do anything, I meant that when I adjusted the fader, it SOUNDED like nothing changed, unless I used the Auto Trim on the gain with the menu knob. Maybe I was confused because I was listening to Post fade when in my head I want to listen to pre-fade? I now have it set to: So, when I make adjustments with the faders, i'm controlling what the mix track is receiving. What controls the iso's then? I think that's where I get confused.
  19. Mike Wally
    Hey guys, I switched from using a SD302 w/ a Zoom H4N to a Zaxcom Nomad. It's been quite a jump, and I love all the things it can do. On a philosophical level, I think I'm still a bit confused about multi-track recording. Hopefully you guys can help and offer some insight. When using the 302, when I turned the knob, it controlled how much or little volume the recorder would record. I would monitor from my source, since that's what I was ultimately recording. If I needed more bump, I could turn a gain knob and open it up. I assume that is post-fader recording/monitoring. By default set up, the Nomad uses post fade, i think. This makes it so that when I'm mixing, moving the fader knobs doesn't actually really effect anything, so i'm generally just mixing using my gain knob. I have it set up to record isolated tracks for the first 5 channels, but channel 6 is a mono mix of what ever combination i'm using. I guess I'm just confused with how monitoring on my Nomad is different from recording to my Zoom. I really hope i'm making sense, and I know it seems simple, but I'm having some problems grasping the whole pre-post fade thing. Thank you, -w
  20. Mike Wally
    ..that's actually really creative.
  21. Mike Wally
    The DP i've worked with before and is cool, and understands that a Syncbox is important/needed. I can't afford a cart, so i'll just "sit" by the camera most of the time.
  22. Mike Wally
    This is all great information. They are working on getting a quote for 5 commtechs (not going to be ERX's) because 3 producers need to listen for some reason. (normally just scripty, director, one producer maybe) and I might end up just buying a ERXTC, and charge them for it as a rental and get it half-off the price
  23. Mike Wally
    Sounds like I'm just going to use wave agent, take notes between takes, bring the mirror card home with me after the dump, dump it onto my hard drive for archive, generate the sound report and just type in my notes. Or, if the pace on set is chill enough, i'll just do it the old fashioned way and type the report up as I go on my laptop. I'm usually always bag mixing/booming, so, It's never been an issue just using Wave Agent. This will be my first time sit-down mixing it.
  24. Mike Wally
    Right, so we agree that Wave Agent works well... Can you plug a USB keyboard into the Nomad and will it work? Not saying Zaxcom needs to redesign the wheel, it would be cool if it could just use the keyboard as like a MIDI interface to control text-character input. -w
  25. Mike Wally
    +1 1/4 worked best for me. Zoom h4N is great and does the job...It's just when you get into jobs where TC becomes relevant, or you want to be able to name tracks it leads you to needing something else. Spent my first year using it though. Little trick: even when doing END and using a breakaway into a camera, you can use the tape-out to still run into the Zoom and record a backup for yourself. not sure if you can see, but i was lazy and just put my Zoom face down in the accessories pocket.I'm sure there are much better work flows.
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