rb1138

Thank you, Vin. I remember you mentioned this film before and this aspect about it. It sounds like the shirt was washed once and dried once, with the process being repeated several times? To everyone else I did not want this thread to be about lav technique. There are already plenty of threads about this. I wanted to start a thread about how clothes are washed to reduce the noise they produce. I wanted it to be about just the clothes-washing. Yes I know that it's a team effort to record sound. I'm doing other things too. I'm just asking about this right now. I've had that sig since sometime last year, and this is the first time anyone's even noticed...so this is why I hadn't thought about its wording until now. I apologize if it offends anyone. I meant I was just starting out, and also with limited equipment and working on mostly low budget projects. Trying to make it more brief obviously made it confusing. I was imitating your sigs that had a real name and a location (especially since my username does not have my real name). I'll just make it more generic.

Hey all, I've edited this topic as I think people are getting confused and answering the wrong thing. I've gotten early into the preproduction of an upcoming film on which I will be sound recordist. It is a great opportunity to do whatever I can before those rushy production days. One thing I told them to do is wash the wardrobe. This is based on information I acquired here in posts about reducing lavalier clothing noise at jwsoundgroup. They asked me if there were any specifics so I decided to ask you guys directly. I wanted to know if anyone knew anything about the following: -Whether they can be safely washed several times in a row (without drying until the end) or washed once and then dried once but several times in succession? -If fabric softener helps noise? -If tumble dry is better or worse than clothesline? -If dry cleaning is effective at reducing noise (I've never done it personally)? -I also wondered if we should be aware about how much damage any of this causes to the clothes or their colors (still the visual aspect to consider)? -Anything else that is similar to the above but I might've missed? Yes I have washed clothes in the real world as everyone has, but never really paid attention to how "noisy" they sounded. It's probably got a lot behind it, this clothing-quieting-through-washing process. I wonder if there are production designers or costume designers who've got the whole process down? Is there someone accessible? I did look this up through jwsoundgroup via google, but it's difficult to do a search for "wash jwsoundgroup", "clothes noisy", or "clothes washing" or something like that without finding something unrelated about lavalier technique or maintaining our equipment. I apologize in advance if someone's already posted this topic somewhere (this one about how to go about washing clothes). Thanks for the help.

OK. The Exorcist did always sound weird to me. Kinda has a weird, dull sound to it. My only theory is that it has something to do with the show's reputation of being "quiet". Most other shows fade nicely through their backgrounds. The show Dexter really nicely fades between lines, but there's a ton of background noise that it uses to mask/fade-between. In order to get the quieter feel, I guess the Breaking Bad guys use more processing?

Not this particular clip so much but Breaking Bad does sound heavily "noise-reductioned" to me too. Seems like their locations are so challenging...you can also hear tons of crazy crossfading going back there in big speakers. Just stuff I noticed. You also mentioned, Henchman, that movies of the 70s and 80s are very midrangey in some post some long time ago. Stuck with me with for some reason. But it sounds different than Breaking Bad does.... Hmm what's up with that? The 70s/80s midrangey always sounded kinda cool/interesting to me, even if it doesn't to you. Must be the "vintage" sound.

Isn't there a special line level cable for the transmitter? Your recorder's output might be too hot. I set my tape out at mic level, instead of buying the above cable. Works fine for scratch, and I haven't had the problems you describe. Although I should probably buy the cable, though I thought it was more expensive than that ^^.

It wasn't just the bts, though the mike is always very small in the pic and dark. Did not look like a BBG at least. There is some mention of using the B5D on a Sennheiser hyper but with moleskin, but I realized as soon as I tried putting it on that the idea must have to do with an 8050. Didn't know about the Cinela one. Put the wrong two and two together.

Ah ha! I knew I saw something like that on the 50s in the behind the scenes of some of my favorite tv shows. It confused me since it looks kind of like a B5D. Cinela...bet it's pricey. Thanks, Justin.

When I first got a 50, I foolishly tried to get a B5D for it. It was just that it was soooo good for the MK41. But! The diameter is completely different. It doesn't fit at all.... Rycote BBG 25mm. But it is a somewhat heavier package in the end and cumbersome.

Oh. Thought there might be. To the converter then.

Thank you! I did not know they were compatible, although I suspected they might be. It's not something I'd think to look for. You'd think it'd be as simple as using the same number with the same number: 23.976 with 23.976.

Hey how do you back up the primary cards? I copy the whole thing (not sure how the zfiles work...). But if there's only one file on it, and I'm copying the whole card anyway, well that's a waste. Thoughts?

No I mean using a timecode of 29.97 with a frame rate of 23.976fps. I corrected my post above. I have read the manual, but it doesn't mention anything about this 24P/29.97 TC thing. Though I did find this article that mentions this. (at the bottom). Actually I double-checked. The manual does mention that the output is at 29.97/30 regardless but it does indicate that the internal timecode should be matching the framerate mode of 24P when it is set at as that....yet it's not working that way.

Been working with this camera on a doc. Been trying 23.98 fps TC jam from Nomad to XF305 but with no luck. Saw this post, and 29.97 works....thanks. But the camera is actually shooting at 23.976fps (24P it calls it). What does using a timecode of 29.97 with a framerate of 23.976 mean? I'm not a post person, but will that still work? It also doesn't keep jam if it turns off and some other situations. Production might need to invest in a lock-it box or maybe I could try a sennheiser set. (included this just to let other audio people who find this thread know)

It was the beginning of time. I meant the "pro audio" department/section of the store.

www.fccinfo.com Saw it on this chart from Lectrosonics. Lectro's great, always teaching me new things. Enter the zipcode or whatever. Works great for 21 and 26 210Ds where I have to guess a frequency (24 I have some problems with but at least I have a 201 w/scanner). The lectrosonics site & some receivers have the tv-station-channel listed too with each frequency. It's strange because when I first started buying wireless the pro-audio guys at B&H told me that Sennheiser Block G was best in NY. But later on I realized Block G's range of 566.000-608.000 was the same/close-to Lectrosonics Block 22 (563.200-588.700) and Block 23 (588.00 to (614.300). Maybe because it's over a wider range? Block G has always worked for me pretty well in NYC.

Sorry I didn't even know you did another one. Yep FanPlate definitely wins I guess it's not a surprise Sonosax would make something quieter than RED. It is sad that RED still can't release a decently quiet fan though. However, that adaptive temperature control to 70 degrees thing is good. Along with that blimp, any other way to maximize quietness on this noisy beast? I was going to recommend these new fans to a director to put on his production company's EPICs (you know for my sake on his next project)... Why is it so much more buzzy with the new top and bottom fans?

On reduser others mention that the fans individually may be louder than the old fan. It's your money I know, but it may not be as quiet as it's supposed to be without both the top and bottom fans.

http://youtu.be/_umkd8STKEo

Friend of mine found this video: http://youtu.be/_umkd8STKEo Never saw this vid on youtube before...or maybe I wasn't searching right. They test a couple of DPA microphones including the lavaliers and boom mike.

Yes right this has happened to me. A loose screw and the unit can make a knocking noise. Happened in ME66 for me. There was a screw inside that I tightened (or I think it was ME66). It's the one that has a battery compartment, so it would seem like something like this can happen. Chris did say it happens at a "timed interval" though.

Wait so the "new bottom fan" is this, right? If so, the new fan seems kinda buzzy. Doesn't seem like an improvement. Your base room tone is pretty loud. Your mike is really close to the camera (he says 20cm away in the video). Yeah I get it (camera-mounted) but it might be exacerbating quieter noises maybe? At least give us one at a regular boom-microphone-kind-of-distance because I'm seriously starting to wonder if the new fans are a major disappointment.... EDIT: Listening to it a few more times, It does seem like the FanPlate by Sonosax with the original RED fan wins.... Hmm so is the roomtone coming from the camera or from the room? I assume the RED cameras never turn their fans off.

Amazing! A great find. Thank you. Kubrick's always such a mystery. This definitely helps.

Purchased one of those Lux Falcon poles. Wanted to let others know what to expect if trying to cable it internally. It doesn't seem to be in this thread, though I swear I read it somewhere in the forum regarding these poles, but it's a bit thinner than comparable Ktek poles. You'd think this is a good thing (less weight) but the consequence of that is that it doesn't seem to be able to take an internal cable. I went to Pro-Sound NY and to Gotham and neither thought it was possible or a good idea to try installing an internal cable. Pro-Sound didn't even get past the drilling part, as they were worried that drilling it would cause the pole to crack (there's no exit hole already drilled for the female end of an internal, coiled XLR). Gotham took a bit more time with it, but told me that the last segment of the pole (the thinnest one) would be much too thin to properly house the coiled cable of the XLR. They said that if I went from all-the-way-extended to completely shortened it would be very prone to bunching up. I imagine that the coiled cable would also rattle around inside the pole because of the same reason. They didn't say it was "impossible", just that the time and effort it would take to maybe do it wouldn't be worth it. But I dunno. I'm not a technician.... Gotham told me cables are built to a certain size and so are boom poles. In order to make the Lux Falcon pole take an internal cable, it would need cables that don't exist. Getting specially-designed cables for a budget boom pole would probably ruin the whole point of getting a budget boom pole. I like the pole for narrative/fiction work where I have a bit more time. For run-and-gun doc stuff I still use my ktek avalon 12'. The Lux Falcon pole is as light as they advertise, and it seems sturdy enough, though it seems a bit strained at full extension with a Rode Blimp at the end (note though it still does okay if you detract it just a few inches). Also, this is minor but there was some machine oil left on the pole when I received it. I emailed the manufacturer, apparently one they "missed".

Hey all, Getting into timecode and worried about whether I'm totally #$@%i@ things up or not. Followed and what a few mixers have told me (and searching on JW a bit) have told me that I could jam from the recorder to the camera and that it should be fine. Without a lockit box. However, the Alexa manual is kind of brief and doesn't mention this particular activity of the timecode. What I want to know is what the blinking Alexa TC means. After I jam from the recorder it (it being the TC numbers/digits) stays solid for awhile, but then goes back to blinking again. This recent production with the Alexa also had a lockit box, and when I used it it would stay solid generally (although sometimes it would go back to blinking unless I babysat the camera a bit to always make sure it stays solid). The AC was indicating to me the TC staying solid is a good thing. But is he right? Anyways, thanks for the help.

Ok. I'll upgrade my firmware right away. Thanks.