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Everything posted by joshneal

  1. So I got word from the higher ups after that they do not want to see a headset on the trainer. We fought long and hard for this option but just got word that it wont be possible. This is a giant corporate entity this shoot is for, so it is what it is. They are aware of the limitations & are okay with some non optimal sound. So its up to the sound department to do the best we can given the circumstances. I'm thinking a hair mic and a traditional chest lav could be a good solution (and of course overhead boom). They are okay with the cable going down the back of the neck as that part of the trainer wont be visible for the majority of the workouts. I'm hoping the hair mic will be a good approach - it all depends on it staying securely in place. Ive done hair mics in the past successfully by crisscrossing bobby pins to hold them in, although they do tend to need readjusted over the course of the day. Does anybody else have any tips on hair micing? With secure hold being top priortiy. Any input is appreciated!
  2. Hey thanks so much for everyone who responded, your advice is greatly appreciated! I have better idea of what I want my approach to be going in, and what is possible with from different setups. And its helpful to be able to manage expectations with production based on what we're able to do in a given circumstance. Jeff, I really appreciate the Jane Fonda workout link - super helpful. I think Im going to try to get a nice even sound from my boom op and give them the option of using that as primary. I'll definitely use the countryman earset whenever possible and fight for it as much as I can. But on takes where that isn't possible I will consider a hair mic and/or a typical hidden lav in addition to the best boom track possible. And Doc, good to hear from you, it has been a while! I see that you've been killing it these days from what I see on facebook and whatnot. Y'all are the best, much love. Josh
  3. I am about to be working on a project featuring some trainers doing high intensity workouts and the producers what to achieve the most even sound possible. We have done some of these in the past and we would run one lav and a boom, but due to the quick movement, changing positions, the trainers head pointing in different directions, the lav being covered or pressed into the floor for certain positions, the lav track is not always reliable. When they use the boom to fill in the gaps the sound is quite different and they are trying to figure out a way to get a more even sound throughout. For some stuff this round we will be using a countryman h6 headset, and this will eliminate a lot of the problems from concealed lav placement. However they still want to get some of the workouts without a headset and Im wondering if anyone has any tips/ideas to get as even a lav sound as possible in this circumstance. I suggested possibly hiding two lavs in different positions that where one might be more effective than the other in a particular position, to avoid needing to fall back on the boom. This is one possibility, but wondering if anyone else out there might have any thoughts? Any advice would be greatly appreciated. Thanks
  4. I am about to be working on a project featuring some trainers doing high intensity workouts and the producers what to achieve the most even sound possible. We have done some of these in the past and we would run one lav and a boom, but due to the quick movement, changing positions, the trainers head pointing in different directions, the lav being covered or pressed into the floor for certain positions, the lav track is not always reliable. When they use the boom to fill in the gaps the sound is quite different and they are trying to figure out a way to get a more even sound throughout. For some stuff this round we will be using a countryman h6 headset, and this will eliminate a lot of the problems from concealed lav placement. However they still want to get some of the workouts without a headset and Im wondering if anyone has any tips/ideas to get as even a lav sound as possible in this circumstance. I suggested possibly hiding two lavs in different positions that where one might be more effective than the other in a particular position, to avoid needing to fall back on the boom. This is one possibility, but wondering if anyone else out there might have any thoughts? Any advice would be greatly appreciated. Thanks
  5. Any speculation as to whether Sound Devices will ever add Dugan Automix to the mixpre series? Seems like a firmware upgrade could do that np. Thats one area where the F6 has the MPII 6 beat. If SD would just throw us a bone and add that feature I'd buy one today. It would be especially useful without dedicated pots for channels 5 & 6. There are a fair amount of my gigs where they use the stereo mix as primary. But I suppose they still want to sell 633s which is what I use currently. I use Dugan on just about every shoot when running multiple lavs. Having 6 channels with TC and automix in a unit that compact/light would be a major draw.
  6. Looking for a solid DC based sound mixer for 8/12. Doc style, full rate. PM me with referrals. Thanks!
  7. Does anyone happen to know why the lectrosonics WM E transmitter LCD blinks every few seconds when powered off? This is my first time using these transmitters - we have 6 currently and several of them blink when powered off (after inserting fresh batteries) yet the others do not. Im concerned about possible drain on the batteries when left blinking overnight. I read through the manual but didn't see anything relating to this issue. Does anyone know why they do this and if it will drain the batteries overnight (to any substantial degree)? And is there a setting I can change to turn it off? I've gone through all the menu options and didn't see a way to disable this feature. Anyone have any wisdom on this? Thanks
  8. I recently received a call from a production company I've worked for in the past that is starting a new project to record sound for the Oculus Rift virtual reality headset. Typically the Oculus Rift is used for 3D/360 gaming, but this project intends to record 360 video either doc style or narrative. The example of the first scenario they want to capture is inside of a locker room with a coach talking to players. Being that this is fairly uncharted territory for video production, these producers have asked me if I have any thoughts on how to best record audio for this type of shooting situation. I've looked into binaural recording, however this would only work for one perspective - if the viewer turns their head 90 degrees the binaural microphones would also have to shift with the viewers movements to match the perspective - this isn't possible to record in the field as far as I can tell. You would almost have to have a binaural pair of mics for every 15 degrees or so to capture binaural audio in 360 similar to the way the cameras are working in a 360 array. But the problem is I don't think the software exists to stitch it all together - at least not from what I can find so far, please tell me if anyone knows otherwise. The way that individual sounds are modeled to give them a 3D perspective is that each sound is recorded clean normally and then placed into a 3D modeling software like Unity 3D and based on its x,y,z position the dynamics of the sound are manipulated by the software so that it sounds in perspective to its position relative to the viewer. This works well for individual sounds - sound effects and whatnot. But what I'm trying to figure out is how, using some sort of configuration of mics/equipment, to record 360 room ambience that can also match perspective based on which direction the viewer's head is turned. Forgive me if this is confusing or if I'm asking for a solution to a situation that barely exists yet, I'm just throwing this out there to see if any of you might have any ideas or be able to point me in the right direction.
  9. Thanks to everyone who replied. I'm on day two of this setup, running all my block 21 components in 200 mode. The results I experienced were mixed. In terms of audio quality, I do hear a difference, albeit marginal - but I'm not concerned about this being of much consequence to the show. I doubt anyone else would notice. In terms of range and intermodulation, the results were basically consistent with 400 mode/411 RXs. The biggest issue I am encountering are the way the RF hits/dropouts sound. When I get a signal dropout, I get hit with a very loud static crackle that I never experienced with 411 RXs. The 411s do a much better job with dropouts, only resulting in mild pops that are far less likely to be noticeable/ pollute other open mics on the same track for the stereo mix. I'm trying out a different freq today for the main TX I was having problems with, but if this problem persists I'm going to push harder for acquiring 411 RXs. Anyone have any thoughts on anything that might help to eliminate some of that nasty static "chhhh chhhh" sound from dropouts/hits? Thanks Josh
  10. Hello all, wondering if anyone could offer me some insight on this topic. So Im gearing up a reality show at the moment and we are building out two 788 bags which will ideally work interchangably with any of the transmitters (lavs for cast) in play. The A bag has 2 SRb RXs in dual mode on block 21. Now, the B bag has 3 211s & 1 401 on block 21. There may be well over 4 transmitters in play for block 21 so I would like for any RX to be able to receive any TX without needing to pair one transmitter to one unique receiver. In order to do this with the gear I have available to me I will need to switch everything to 200 series compatibility mode so that the 211s in the B bag can receive any of the transmitters in play - which will all be either UM400a or SMQVs. So my question is - will running everything in 200 mode present any significant disadvantage in terms of: 1) Range? 2) Intermodulation? 3) Audio Quality? As of now the above gear is what I have to work with. I am trying to push for our production to rent some additional 411s from an alternate rental house for the B bag so we can keep everything in 400 series mode. However if that doesn't happen, does anyone have any insight regarding this setup? Thanks Josh
  11. Anyone know anything about the Any Spot AS-DIST-4? Its a 2 Input 8 output Antenna Distro system for running 4 wireless receivers. Only $399 http://www.bhphotovideo.com/c/product/524695-REG/Galaxy_Audio_AS_DIST4_AS_DIST4_Antenna_Distribution_System.html It also runs off 12v DC power which would be great for on the cart. If anyone knows anything about how well this unit works, let me know, the only downside I can see is that the antenna outs are not standard BNC connecters, but some other type requiring adapters to be made. Or if anyone knows of any other inexpensive antenna distro system that would be good on the cart, let me know. Looking to run a shark fin and a dipole to 4 lectro recievers. Has anyone had any experience running an ac powered distro system using an inverter with a large marine battery or something similar? Thanks Josh
  12. Yeah I tend to flip the RM-11 around quite often and use that little pocket to keep clothing from rubbing. That approach has been working well for me. I find that the most control over how full or bright the sanken sounds comes from how far up or down on the chest you place it. Sometimes it seems a half inch can make a big difference.
  13. I'm interested to know which blocks people have found to be the cleanest for use in New York City. I currently have two 411a receivers with SMD transmitters one on block 28, the other on 25. Ive been using a rented unit on block 22 on my current job and I find there are many more cleaner frequencies on this block than 25 & 28. Im considering selling one or both of my units and getting two on the same block or adjacent blocks. Or perhaps getting my current units converted through lectrosonics. I would like to be able to use one dipole for both receivers but right now my blocks are too far apart. With all the changes happening in the RF spectrum currently I'm not sure what the best route to go is. Any suggestions? Thanks
  14. So at lunch today on set the new machine arrived and I began some tests only to find that the exact same problems were occuring with the new machine. I called Sound Devices after that and spoke to their support department. I explained the problem and they said that they were aware of an issue when powering the unit on with the timecode cable connected. Basically when you power the unit off and back on with the cable connected it will jump out of sync. It will not jam the slate correctly and the tc display will be well out of sync. The solution: unplug and replug the cable or power it on without the cable plugged in. My 788 has been seated comfortably on my cart and I just left the cable connected rather than reconnecting it everytime I had to jam. But I had no idea that this was an known issue. But Sound Devices did say it was a firmware issue - they hadnt solved it yet, but were working on it. A great thing to know if you are a 788 owner/user! Hope this post makes someone out there not stress if this happens to them!
  15. I just purchased a 788t and am using it on this job and have been experiencing some major timecode issues. First off, I noticed some major drift after the unit being powered off and back on when in 24h run. The Sony battery and an external np were connected. Then I switched to regular free run but had the same issue. Then I tried rejamming to find that the slate was jamming either a couple seconds to a couple minutes after the tc on the display. Running at 23.976nd 24bit 48k. Pretty standard. Checked all settings on the slate and recorder multiple times and tried 2 different tc cables. I tried switching the framerate to 24, then back to 23.976. The slate would jam after this, but all the same issues when the unit was powered off and back on. Anyone else had any of these problems? Having a new unit brought to set as I type, hoping this one works right!
  16. Just thought I would throw out an update to anyone who may be interested... Did the job yesterday, heres what happened: I called the producer and insisted that we use lavs - the only reason that we didn't take that approach from the beginning is because there was no rental budget (I have 2 wires, renting four lectros would have been ~200). Upon insisting, the producer tells me that their production company actually has 2 lavs of their own (one hardwired, one wireless). Given that I went ahead and rented two more hardwired lavs for a mere 30 bucks and had the mics I needed. Until I arrived at the job and they told me there was going to be a seventh person! What could I really do at that point but hang my cs3 over the seventh person... So thats how I rolled it - 7 channels down to 2 sent to 2 cameras. The boom actually mixed in pretty well with the lavs. I dont think I had the total wrong idea with plant mics... just the wrong idea about what type. My planted shotgun was by far the best sounding mic. So it was seven people - 6 girls - 1 guy, no host/leader, and all of them yapping and eating and drinking wine. Not a pilot, but a promotional sales video. The cameras rolled for all of an hour and ten minutes, and then the gig was over. Although my rate was low, it was such a short day I really didn't mind - in and out within 4 hrs - and got to eat a plate of great food and have a glass of wine. This producer has been good to me over time (worked with her on two features and a couple other projects). She's not an idiot and did not take advantage of me! I left the job with a clear conscious, knowing that the sound I rolled was clean and very usable. I guess the thing I learned most from all your replies is just to insist that things be done the proper way - so I did, and found an inexpensive solution. Even though they threw a seventh person at me at the last minute, I didn't bitch and complain, just did what I could and got fine results. I really value this forum, many thanks to you all.
  17. Thanks again for the advice. I'm going to try to round up a second boom op and do this the proper way. My apologies to anyone I offended with my bad ideas.
  18. Thanks to everyone who replied. Right now I'm trying to choose between a few options. I could go with a boundary mic/PZM... What has been people's experience with using these mics (never used one myself)? How is the sound quality, and how well do they pick up a group? Also, are there issues with the type of surface its on? Do things like elbows or tapping fingers on the table pick up? My other thought was to rent a second sanken cs3e and plant that one overhead and boom with mine. I could also try to find an intern to do second boom (not a PA!). What about the Sanken CUB-01 in the middle of the table and the cs3e overhead? Wouldn't mind picking up a CUB-01 (heard these are great for car rigs). Which do you think would be my best option? Thanks
  19. Thanks for the reply... This is not a tv job being produced by a network with unlimited funds. This is a small production company paying a very low rate for what I think is a pilot... There is no rental budget, anything I rent comes out of my rate. I own 2 lavs, and one shotgun, which is not suited very well for this type of shoot. There is no chance of a second boom op, and renting four additional lavs out of pocket would make this job not worth my time. Also this is all landing on two channels, in camera. If theres no chance of getting decent mics for what I want to spend, Ill rent two high end ones. But I can only work with what they are giving me... Im told the location is a homey suburban style kitchen - I can hang blankets if theres too much reverb. I know with mics you get what you pay for... but the same is true with mixer rates... if they cant pay for the proper tools and pay me, then their results will be compromised. In this case I'd like to try to give them something passable with what Ive got to work with. Any suggestions?
  20. I'm working on a piece this weekend for a food show. The setup will be six women seated around a kitchen counter and talking about food. The producers dont want to deal with lavs, so I need to capture it all with overhead mics. I'm thinking if I drop a pair of cardiod mics above the group and place them appropriately, I can get the whole group. I know that schoeps and neumann make some great cardioid capsule mic systems, but I was hoping to find something a little cheaper. I would like to add these mics to my kit. Anyone know of an inexpensive condenser cardiod mic that I would sound good (preferably something that could match my sanken cs3e reasonably well). Hoping to spend 500 or less on a pair. Just trying to feel out my options - I could also buy a more expesive mic and rent a second one.... Any thoughts?
  21. Ive been thinking about this idea i've had for a while... I want to build a small lcd monitor for my boom ops that they can wear around their wrist like a watch. Ive heard of this setup before, but I'm not sure if there is any commercial product available that is designed to function like this. Anyhow I need a small lcd screen with ntsc video input. Can anyone recommend a small (no more than 2.5" diagonal) lcd with ntsc input (and runs around 12v power)? Ive been thinking about this one: http://www.millertech.com/modular-lcds1.html The first or second one on the page - the 1.8" one or the 2.5" one. And I also need a wireless transmitter/receiver system. Ive had my eye on this one: http://cgi.ebay.com/2-4-ghz-Wireless-Security-video-AV-Transmitter-Receiver_W0QQitemZ110168203170QQihZ001QQcategoryZ48636QQssPageNameZWDVWQQrdZ1QQcmdZViewItem It is a bit bulky, but I can attach it to my boom op's belt (already have a nice belt set-up with a rolls PM50sOB amp and a duplex box - I use this system so my boom op can adjust his own headphone level and I can talk back to him during takes). I would also attach an np battery and cup to supply power to the lcd and the wireless reciever. Or does anyone know of any other lithium 12v battery system that might be cheaper/less bulky? This would require cables to be run up my boom ops arm - likely to be secured with some elastic velcro armbands. I know that some of you might say this setup is a bit of overkill and likely to create more of a burden for a boom operator than a blessing. But, it would be a system that i would only bust out when appropriate. Ive been getting into a good rythym with my current boom op and I feel like he can handle it when we have enough prep time before a shot and its appropriate for the scene. I want to build this so that it is durable and dependable. If anyone has any suggestions at all I would love to hear them. Thank you all! Peace Josh Neal
  22. I'm currently starting week three on my first million dollar feature, and just scouted City Hall Park in Manhattan yesterday for a few scenes we're set to shoot next week. All of the scenes will be Steadicam walk & talks involving 2 actors (1 male, 1 female) and at points during the scenes they will walk near and possibly stand next to the giant fountain in the parks center. They will be covered from different angles and sizes - so anything is fair game as far as framing. I'm trying to give this production something other than a guide track for ADR. The problems are that they will be walking toward and away from the fountain, and some dialogue will take place directly near the fountain. BTW the fountain is quite large and has about four arcs of shooting water. What I would like to have is a consistent ambient sound for cutting between coverage at each point during the walk. Im using a Sanken CS-3e and Lectro 401s w/ Sanken COS-11 lavs. Im going to make sure that the wardrobe is accommodating for the lavs, and take my time to get a perfectly clean lav track (rolling on two channels - fostex fr2). Is there a more directional shotgun mic with better off axis cancelation out there? The Sennheiser 816 perhaps? Shadows permitting, Im probably going to have the boom mic 90 degrees to the ground consistently throughout. Or am I wasting my time with the boom, and should just put the wires on separate tracks? I want to do whatever is possible to get the strongest signal and least noise. If anyone has ever shot near a fountain or anything like this, throw some advice my way. Thanks.
  23. Thanks to Courtney's help I was able to recover the entire (what turned out to be) hour and ten minute take of sound. I basically had to manually enter the information for each of the first four chunks of data - bext, fmt, elmo, data. I just referenced another file and borrowed the common information. The most challenging part was getting the file to play completely. I took me a while to figure out how to make the player know how long the data section was - I determined the hex value for the total number of bytes in the file and entered that as the next four bytes after the "data" chunk. This effectively makes the player think that the length of the audio is a the size of the entire file (overshooting a bit because the other chunks take up some space at the beginning). But this doesnt make a difference - it plays until the end. Mad props to Courtney for saving my ass! Peace Josh
  24. Hello all, Im a NYC based sound mixer and this is my first post on JW sound. For this posting I am trying to figure out if I can recover a damaged wave file - heres the situation: I was recording sound at a documentary shoot of a 25th anniversary party of a restaurant. I had shotgun pointed at the general crowd, and a direct feed from the house board. They were rolling intermittently for long periods of time, so I just let my Fostex FR2 roll for the whole thing only cutting and starting a new file at good breaking points (BTW there was no TC sync, or any slating which I explained to them would be a nightmare to sync, but they seemed to think it would be no problem - so that part is their headache). But at one point there was some issue some house equipment resulting in an incredibly loud buzz. I immediately dove for my FR2 to cut, but just before I got to it, a disk error occurred (I roll on a 5gb pcmcia disk, not compact flash). I dont know if this was a direct result of the buzz way overmodulating the recorder or if it was pure coincidence (ive had the disk error before). In any case, I lost a 40 minute take of sound. But, there is a file called FR20001 on the recorder that is about 750mb that is definitely the file I need. Is there any way to recover the audio from that file? I asked the guys at Pro Sound in NYC, but they didnt have a solution. I assume that the fr2 creates a temp file called fr20001 while recording is in progress and then completes the file and names it when recording is stopped. So this file is just missing whatever the final "bookend" of a wave file is to make it readable. Can anyone help??? If you can help me get this file back I will forever in your gratitude. Thanks Josh Neal http://www.joshuabrentneal.com
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