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B_Van_Deusen

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Everything posted by B_Van_Deusen

  1. Hi, I am also looking for connectors like these, i find plenty of the 2.1mm Id pin x 5.5 online everywhere, but i can't seem to find the Female 2.5mm ID pin version. I have bought a few of these non-locking connectors at one of the NYC production sound stores, but i'd like to find them cheaper (i know they are 2.5mm because the 2.1mm bulk connectors i ordered from china don't fit the legit ones I bought =). All i seem to find is the terminal connectors online. Solid were you ever able to find a good solution for this connector? Best, Brett
  2. Hi, Thanks everyone for all the great information that stems from many years of your recording experience. I am doing some orchestral recording for a youth orchestra at SUNY purchace. So far with rehearsals we've been using a wider-than-90° XY pattern with schoeps mk4 cardioids SDC's. Which sounds okay but I have noticed that the pattern isn't super wide, doesn't sound very great in mono, and tends to lose some of the players on the edges of the orchestra. I'm thinking its a good idea to switch to ORTF Based on this post and other research I've done, but I have a few questions: With ORTF placement, how important is it for the angle of the mics to be at exactly 110° and 17 cm apart? if I want to adjust the spread by being more narrow or wide will I end up with phasing issues in mono? i am a little worried that with that kind of angle I will be missing parts of the orchestra in the middle, does ORTF generally do a good job of catching the sounds right in front of it as well? best, Brett
  3. Hi, I'm stuck on a plane that is having maintenance issues and I will most likely miss my connection flight and therefor not make it to my job today. This job is a celebrity interview, the producer and camera person are on the ground there and they need a sound mixer. If you are in that area or know someone in the area please email the producer Ise right away Isewhite@gmail.com . We would both greatly appreciate it.
  4. Hi, I am a NYC based Sound mixer for about 7 years now and I am starting a job tomorrow outside of Pheonix, AZ. The long story short is that my equipment pelican has been stuck in airline world. I generally avoid this situation by carrying on the majority of the gear, but in this particular situation I had no choice. The good news is that there is a chance that the gear will come in tomorrow morning only slightly delaying the production, but there's no guarantee or way of knowing exactly until tomorrow morning. I am asking here if anyone can recommend a reliable resource for renting sound gear: a rental house, a sound mixer who rents out his gear, etc. The setups are single person interviews and some walk and talking. My setup mainly consists of 788t, mkh60 and lectro 411's w/ cos11, but i could mix in cam (sony EX3) if necessary. There is insurance, there is rental money, and i am extremely careful with equipment. Hopefully the gear will fly in tomorrow morning on time, but if it doesn't, knowing where to go or who to call ahead of time will be a production-saver. I appreciate any information anyone can give me here. Best wishes, Brett Van Deusen
  5. Anyone know how these blocks are working out in NYC?
  6. Hello again, I made this thread almost 3 years ago and am glad to see that the topic is still pretty fresh, the last post was just over a month ago! Anyways, since i discovered COS 11 mics they are really the only ones i use, with trams around for backup. I experimented with B6's for a bit, but only found them very useful indoors, exposed in plain sight. But COS11 usually do the trick. I've gotten used to them enough that i can usually tell how they will sound before placing them. They tape on with transpore very easily to the chest or the shirt, and can easily be sandwiched between two shirts. In situations with very hairy chests i've asked wardrobe to put an undershirt on the actor. In a narrative situation i think its important to inspect the wardrobe and collaborate with that department before costumes have been established. Most wardrobe folk are willing to make simple changes that will really help you (and the film), as long as you don't get in their way too much. I've also found locking off layers using topstick or other adhesive helps, as well as locking down any kind of necklace - rappers often have the heavy chains that reverberate the sound of it clicking over the notches. Joe's sticky stuff (or resin tape) is another great tool to have around with the COS 11 (or i would imagine any lav). You can wrap it around the mic to put under collars or in between layers, and it acts as the same kind of buffer as the RM11 but its also a strong adhesive. I had to mic a car racing suit and i used it to lock the mic under the zipper flap, it held it away from the fabrics and kept the wind out as well. There is a point where the wardrobe is un-micable, and then i try the hair. A hairstylist showed me a nice trick where she took two locks of hair, used the mic cable as the third lock and braided it down a bit to keep the mic from slipping - which often happens with bobby pins. If the hair can't work, and i've run out of tricks, i decide the lav is no good and move on. If the boom is fine and/or they are getting a lot of coverage, then i may not even mention it or offer it as a note, but not a real problem. If there is a real problem, then i try to let whoever can help fix it know as soon as possible before i've run out of time and you start to hear the three dreaded words "waiting on sound." " is it static guard to soften up the clothes, also dampening the areas near the mic's placement. "itis static guard, to eliminate static electricity, and a mist of waterto dampen and thus soften...with the concurrence of wardrobe. " -never tried this but sounds like it will help Best, Brett
  7. Does the vu meter offer any control to the input level? or would the only way to control it be to attenuate from the mixer end? I am plan to do double system, but everyone wants their camera to be fed whether it is really meant to chew on quality audio or not =) Best, Brett
  8. A cameraman i recently came in contact with (and future co-worker) has told me about a new firmware update to the canon 7d that allows for meters and/or level controls for the 7D. I read the canon page about the latest updates and see nothing about audio being updated. Anyone hear this news or come in contact with a new and improved Canon 7D? Best, Brett
  9. Hi there, me and another sound guy are shooting a feature in the Bahamas and today we've come across a "clicking" sound in our line. As the boom op i am hearing it on my end and its going all the way to the track. It sounds kinda like the clicking of a clock. We are using a Schoeps CMC6 with a 744T as the recorder. Any help would be great. I have heard stories of the Schoeps acting up in high humidity situations could this possibly be the problem?
  10. Anyone read Sound for Digital Video by Tomlinson Holman? I would imagine it is almost another edition of Sound for Film and Television... but i would like to know if anyone can validate that assumption or if both are equally worth reading? Best, Brett
  11. Both of these are nice machines, the nagra (leave it to them) being a little more complex and therefor more expensive. But the main question i have is does the line is offer a stereo recording for L/R?
  12. Ohhhhhh so thats where that trick comes from. I had an actor tell me he's seen that... i stuffed my tram in the knot and got nothing but rub, but i can see how it will work better with the COS-11. Thanks! And about the hairline... i've done it once with just a bobby-pin and it worked out fine, just up above the ear of a long-blonde-haired actress. If i remember correctly we had to adjust it every take as it would shift a little... is there a better way to secure it? Best, Brett
  13. Thank you to everyone who replied, your advise is greatly appreciated. I've recently tryed out the cos11 and have fallen for it... it works out much better on clothing than a tram. I've heard of the corn cushion before and have tryed it, but it usually ends up falling off at some point because the adhesive on the cushion isn't that strong... this is a trick i would like to try out some more. Usually i have the most problems with suits or dress-shirts w/ ties. The countryman b3 works great for interiors, but are there any magic bullet's for exteriors. What i usually find is that the tie itself is a harsh synthetic fabric that makes harsh rubs, and if you go underneith the tie will rub or flop up against it when the person walks. After topsticking it all together i still usually get alot of rubbing from the starchyness and tightness of the shirt. Also... what is generally acceptable for clothing rub? as long it sounds natural? i'm usually so attuned to it that a little bit will drive me crazy. best brett
  14. Hello everyone this is my first post on JWsound. I am a NYC based sound mixer and been at it for about two years. I roll with two Lectro's w/ Tram tr50's and i always find myself fighting clothing noise, sometimes having to readjust them between every take. I've recently tryed sewing in pouches which has worked out ok, but still end up with a little crackle here and there. On the job i'm on now we also have two sony emc mics which clean up much much easier. So basically if anyone has any tips or can lead me to any resources, your help would be greatly appreciated. Best, Brett
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