RandyHall

Based on how badly I got burned by Lion when it came out (upgrading my iMac basically screwed up one of my production user accounts that had survived two previous OS X upgrades, and I still can't get excited about "Save a Version" and "Duplicate". At least put a preference checkbox for us Luddites that want to "Save" and "Save As". Sheesh.) I'm dubious about Mountain Lion.

I've seen the GoPro used as a BTS camera, which is very useful (and discreet most times). Wasn't there an epic BTS shot done on a GoPro for Hugo's final steadicam scene? THAT is what these cameras are good for in the film business. Otherwise, unless you're into extreme whatever, you kinda look at them and say, "huh?"

How does one measure feet worth of RED Epic stereoscopic footage? Petabytes?

Nothing to see here, community rallied around in its usual snarky fashion to what appeared as a dumb question.

Truth. Nothing beats knowing how to use your gear than by actually trying to use it in a test environment, where you can work out the kinks prior to having money and your reputation on the line.

As soon as he said HD-P2, I thought "hoo boy, here we go". Lockits are cheap to rent and will keep your editor from throwing darts at your face. Not at pictures of your face, mind, but actually at your face.

Doh, missed your reply to my original email! /facepalm

Fair enough, it was late last night.

Sent email, but haven't seen it arrive yet. Should I be concerned?

And because I'm feeling geeky, here's a little article (linked from the Wikipedia page above) that goes into more detail on the science behind why it's the balanced impedance that gets rid of the unwanted RF or other EMI, and not the differential nature of hot/cold signaling. http://www.midasprosound.com/cms/cmsfiles/pdf/__www.soundcraft.com_extra_product_pages_audio_balancing_i.pdf This looks to be lifted from Soundcraft, the other white papers are here for more propellerhead fun. http://www.soundcraft.com/support/white_papers.aspx

The most interesting (and applicable) part of the Wikipedia page for balanced line: The sort of balancing that SD is talking about is the last type. The more "traditional" is the first type.

I was just thinking that this is why people sell or make their own ground lifters. A good phantom power supply will isolate the ground anyway because hey, you're using it for power, duh.

Even a Zoom sounds better than on-camera RED audio... And your earlier comment about it taking years of experience in order to get years of experience is all too true. --R

I would consider also adding links to the individual IMDB pages (or perhaps the full cast/crew page for each IMDB entry) of each film you have showing on the resume page. For instance, the direct link to the sound department portion of the full credits page for "Cowboys & Aliens", you use this following, which then lists you in the section. http://www.imdb.com/...ound_department This is just a thought, obviously, and it's not as sexy as the main IMDB page for the film. And also you won't be able to link films that are not listed in IMDB, or for which you're not credited in IMDB. --R

+1 again, for the same reasons Michael stated. You are essentially giving your CV on the home page that people who find you will check out. I gotta come up with something like this, despite that I haven't worked on anything near as cool as you have, David.

On day three where I am DP on a RED Scarlet (student thesis film). I will say that having fans roaring (literally) when not rolling is frustrating to say the least. I've had multiple people have to walk right up to me to ask a question because I couldn't hear them from 15 feet away when the camera was idle between shots. Small mercy is when we are running on battery, the policy is to power down the camera if there is more than 30 seconds between takes. The other small mercy is that running the fans at 30% while rolling is so much quieter, but probably only relatively, because it's so deafeningly loud otherwise.

Yeah, a liquid-cooled Epic is what's needed.

But rolling a sound cart off of that wagon would be sweet.

Yes, the TC Buddy does what's called "ad-hoc wifi", which is a point-to-point wireless network. The upside is that since it's PTP it doesn't suffer some of the latency that you get going over a more traditional "infrastructure" wireless network (sometimes as much as 30ms). The bad news is that it's more, shall we say, flaky, due to the fact that the nature of the ad-hoc network is that nodes can come and go, and line of sight becomes a factor (as it is 2.4GHz spectrum being used).

This is what scares me, that those visually-oriented without the sense to know the real value of TC are going to flock to this price point. I was originally excited about it, but once I realized the limitations, the shine has definitely worn off for me.

Considering that this thing is almost out in the hands of the camera-loving public, it's worth waking this thread up to talk further about the timecode (or lack of jam sync). I would think that still having to invest in a lockit buddy (or some other audio/TC bridge "solution") along with a lockit or SB-3 or whatever to keep the camera's undoubtedly dubious timecode clock in check is basically saying that this camera is only a teeny tiny bit better than a DSLR.

Still sounds like an awful exercise. I suppose your hourly rate makes doing it worthwhile.

Only four days? I would think it would've been a couple weeks. Of course once it's in post, the camera crews have slithered off to go ruin someone else's shoot…

Ah, gotcha. At first glance, it looks like you're competing. And it's always nice to see booms just out of frame.

Funny how many of us drummer types have moved into film sound...