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Blas Kisic

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Everything posted by Blas Kisic

  1. Thanks, once again, to all who replied with very useful comments and suggestions. As most of you predicted, they stuck to 60fps - although, given the natural rhythm of the song, 72fps would have been doable as well. Unfortunately, it wasn't my happiest day on set because 1) the production team –especially the 1st AD– wasn't quite up to the task of organizing a day of shooting with 20 minors, a wind machine, a Steadycam and two cameras running at different speeds, with clients breathing down their necks… and, in spite of the fact that we tested the PB rig repeatedly, twice in the morning and once again after lunch (most of the morning was MOS) and boom op Tom Cassetta's expertise and best efforts, "on the day" the speaker went on the fritz. This particular speaker is three months old and had no problems whatsoever on two previous PB jobs, but apparently some combination of surface heat (it was a 100F-day in Burbank) and sun exposure caused its amps to shut down intermittently. Tom played with the XLR input and turning the unit on and off, and made it work – but, of course, we had to reset the track, cut camera, etc. So, after a few failed efforts, and while we were clobbering together a MacGyveresque wireless solution, we were just told that we were done with PB… Clearly not my proudest moment in film production, but sometimes shit happens, and apparently there's not a damn thing you can do about it. What I learned: that I should have a plan B even if there's no way in hell that a particular piece of equipment can fail. I didn't have room for a second 15" speaker, but next time I'll have a smaller unit just in case. I also called the producer a couple of days later to offer her a discount on the equipment rental - she was very grateful for the offer, but said that it wouldn't be necessary (in reality, the PB was a minor part of the whole spot, maybe two or three shots, if that.) Well, that's the story. Thanks for listening, BK
  2. Thanks to all who replied! Devendra is, clearly, _The Man_, though (in truth, I'd been told to call you, I just couldn't find your phone number…) Anyway, here's the scoop: Comtek works fine for this. I sped up TC in "Chipmunk mode" and, guess what? It worked like a charm. I was shocked to realize that the slate tracks all the way to 120fps! We're all set for tomorrow and I don't expect any unpleasant surprises. I'm quite grateful to have this resource at my fingertips. Thanks again! BK
  3. I've gone over the relevant threads, which were very helpful (and must publicly aknowledge Marc Wielage for his time on email and over the phone, helping me figure out this issue,) but I couldn't find an answer to this particular issue. I have an upcoming shoot that includes playback of a track, which a few 9-year olds (background) will lip-synch to. I've built a striped-timecode playback track, with the appropriate countdown beeps, by summing both stereo tracks into the L channel and TC on the R channel. Regular speed is 23.98 and we're shooting with an Alexa. They also requested a 60fps version and a 120fps version. I did the math and used a Pro Tools plug-in that speeds up the track(s) without affecting the pitch. I'm feeding the TC channel to a Comtek 216MHz tx, which sends its signal to a TS-3 slate connected to a receiver in the appropriate channel. When running 23.98fps everything is perfect. However, any other speed shows jumbled numbers on the slate. I spoke to Charlie at Denecke about this, and he said it would read 60fps, but the slate won't read even that speed. So I have two questions: 1) if I switch to a higher-resolution wireless system (I have a couple of Sony UWP kits that I use for camera hops,) will the slate be able to resolve the higher speed(s)? 2) Should I stripe 23.98fps timecode on the higher-speed tracks, sending those reference tracks to post, so they can at least line them up with the camera's visual cues? Thankful in advance for any suggestions or comments you might offer, BK
  4. Matt, it doesn't matter whether you fly into Rio or Sao Paulo. Unfortunately, both airports will be populated with corrupt officials. I've flown to both cities, with a small amount of gear, not too conspicuous. If you're taking several Pelican cases and such, chances are local customs will notice you. If you speak at least some Spanish and/or Portuguese you may charm them into letting you through unscathed. Brazil is a wonderful country, and I hope you'll enjoy yourself (Rio is a far better visit than SP, anyway), and there's a good chance you'll luck out and skate through customs without a worry in the world. Just keep a vigilant eye about your surroundings. The fixer idea is good - they definitely should have someone. HTH, BK
  5. I hope at least some of you go to the "Superstars of Production Sound Recording" panel on Sunday, with Mark Ulano (Unfortunately, I'll be on a plane to Milwaukee…) BK
  6. What José said. It sounds like a O1 visa would be the way to go. Bring along as many awards, newsclippings, letters of recommendation, reels and even radio and/or TV interviews of you as a subject, because those are highly considered for a visa for "exceptional ability" (that's what the O1 stands for) before you come to the US. If this thread were happening in the early 90s, it would be a totally different conversation - but now, after 9/11, employers have become especially cautious about paperwork, so it won't be easy at all to get work if you're not authorized to do so. Good luck, BK
  7. Hi, Nicholas. Thanks for posting that. I'm prepping a job that requires playback at various speeds, and I found that page quite helpful to generate the timecodes I need. I pitched in $10 as well, seeing as it saved me at least 20 minutes of work. Please note, in any case, that the URL for the tc widget is this: http://elteesee.pehrhovey.net Thanks again! BK
  8. Alistair, AFAIK Héctor and Sig are the owners, so there's nobody else there who would know about what they do. They both can be a bit gruff and/or short, but if you're insistent, or make it clear you're ready to spend money they'll sit down with you and help you figure out what you need. HTH, BK
  9. Mike, In my experience, for atmos used in the background, the noise floor is not an issue. Practically by definition, "noise" is what one's trying to record… People shuffling, walla in a market, cars passing by on a street, birds chirping, etc. If what you need is any quieter than that, methinks atmos is not what one would record, but what do I know… BK
  10. Am I the only one who hears the voice of Borat when reading this post?
  11. I can see using this for atmos recording, though… BK
  12. Well, Marc, Charles couldn't really find anything wrong with it - he replaced the battery contacts because he couldn't duplicate the condition. The receiver works, and always worked. Just some odd behavior, which I hoped others here with more experience had encountered before - not necessarily warranted shipping it to NM...
  13. In case anybody was watching this thread… I took the UM400 to Lectro and they gave it a full checkup - the only potential issue seems to have been the battery contact plates. The engineer (Charles, I think?) replaced them and sent me on my way. As always, greatly impressed with Lectro service. Cheers, BK
  14. Thanks, José and Phil. I usually do that first thing in the morning. My mistake in this case was assuming the 2nd AC was on top of things, instead of following up. But, then again, he never gave me an indication that he needed guidance. If he had told me from the outset that he needed help with that, I would have gladly done so without any fuss. BK
  15. A few months ago, I worked with a 2nd AC who didn't know how to sync the camera (a garden-variety Alexa.) He only admitted that he had never jammed the camera (and why!) after we ran the first setup, when I asked him about the timecode. Both the 1st AC and the DP then proceed to try to throw me under the bus, since I was delaying the next setup because _I was trying to sync their camera_ (!!) I should have refused to touch the camera and let them embarass themselves, but I chose to be a team player, because we had a lot of shots to do. To top it all off, they ran that first setup (seven takes' worth) at 24fps, rather than 23.98, because the 2nd AC clearly didn't know what he was doing. Obviously, I made sure Scripty made a note of that, but I never received an apology or even aknowledgment from the camera department that they fucked up. Probably the most bizarre experience I've ever had on a film set… BK
  16. http://losangeles.craigslist.org/lac/cwg/4482061153.html Check out the last line… Need a sound person soccer game on FRIDAY May 23th 6pm. You'll be in the booth with the commentator and have to mike him. That's it. About 3 hours of work only. Must have boom and lavs. There will be 5 more games coming so if all is good we continue working in all together. Pls email indicating which camera you have.
  17. Hey, Rado, What's connected to the V-lock? Is it mostly DC gear? I'm planning on powering an AC mixer (and, potentially, the BlackMagic monitors, though I can power those with DC as well) TIA, BK
  18. Thanks, Matt. I'm researching the Paul Buff option, while also looking at traditional battery+charger+inverter setups. I recently met up with a colleague who has an upright cart powered by a Pelican battery (with a LiFe cell inside - very light!) which I'm intrigued by as well. So many options… I want to look at all the potential candidates before committing. Thanks again, BK
  19. Today's find: http://losangeles.craigslist.org/lac/cwg/4469352677.html SHOOTING A PARTY SCENE for a webisode on June 1st and need an excellent sound person. The production is small and so is the budget so we can only offer a day rate of $100/day. It is a SAG production and we are professionals. Please reply with your reel and if you are available. Production can be stressful enough even when everything goes right so please have a great attitude and be willing to work with a young crew. Thanks They have quite a few demands for their hundred bucks… That's really my main beef: there are plenty of low-ball productions that can't offer much, and I understand there's a place in the "market" (such as it is) for all kinds of budgets, but have some perspective! Who do you think is willing to read CL and actually apply to such shit jobs, award-winning mixers?! Rant over, BK
  20. Hey, Mattin - I'm intrigued by the Paul Buff deal. Thanks for mentioning it. I wonder if you know why it specifically says the "Vagabond" battery system shouldn't be used with modeling lights. Have you contacted him about our intended use? TIA, BK
  21. I know at least one 695 member who was offered work in GA, and had to physically move there, and show proof residence, to join the local there. Which he gladly did, BTW. I think it's only reasonable to have a similar set of rules in every local, for obvious reasons. I subscribe with Rich's point 100%. Cheers, BK
  22. Same here. I followed the instructions in the ITATSE local 695 web page, and received my license Friday… BK
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