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David Terry

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Everything posted by David Terry

  1. 1.The original Waffle House is in Avondale Estates (East Atlanta). 2. My college friend Allison had no problem paying tuition. Her dad owned those Waffle Houses... 3. (on a job) Julio Jones told me that his nickname is Waffle House. I did not get it... Matt Ryan saw the puzzlement on my face and explained "He's always open." 4. In the Waffle House scene in "Due Date", Jonathan Fuh boomed Downey, and I boomed Galifianakis. The poles were so short we could have used hand mics.
  2. Has anyone posted photos of the back sides of Deva 32 and Oasis?
  3. I threw my Cameo mixer into the dumpster last year. (It died in 2009) There were no repair parts from Zaxcom. I hope that the Fusion12 Mix 12 combination that I now use and like will not end up in the dumpster when they require a new board. A recorder should last more than 10 years.
  4. Glen, Welcome to Atlanta. Given the great service I've gotten from Nashville with 1 day UPS ground, I've considered Trew my neighborhood sound shop for years. I hope you'll locate in town where the cool kids live.
  5. I got my first PC in 1988, and bought my first Mac two years ago just to run Metacorder. I liked the iBook so much that I ended up using it for everything and ignoring my PCs on the network at home. I just liked the iBook better. Go figure. Last month I bought a 24 inch iMac and this morning I bought a Mac Book for my sister. (I wish I had a brother like myself :>) I still have not figured out why I so prefer the Macs. To some degree it is fit and finish. I know that I was never so well organized in PC land as I seem to be today. My data backups, syncing between machines, and keeping track of stuff just works better now. I'm a command line type of guy who can't quite figure out how I got converted. David Terry
  6. And there is the Spars Timecode book: http://www.spars.com/public/pages/index.cfm?pageid=69 -David Terry
  7. Philip, I sent you a private message describing some of the production problems. I don't wish to embarrass the folks who sign my checks while seeking solutions to problems that I hope are temporary. I have seen the new Phonaks, and the DP nixed them. It looks like our post department is going to fly in a Laugh Box person from LA to improve our laugh track in post. I am doing everything that I can to persuade my director to stop using the laugh files on the PA. I am curious if there are portable ADR specialist. We might need someone like that to fly in and loop several episodes. David
  8. Phillip, I am familiar with these earbugs. They were deemed too visible for our shoot. David
  9. Phillip, I am hoping that the actors will object and that the director will then stop spoiling the production sound track. Some of our post folks are part of the problem. The avid folks are playing rough cuts to the director in very noisy rooms and not pointing out how bad the tracks are. Intimidation. The producers do not want to cross the director either. The editors are present at the ADR session and watch the takes as we lay them down. Granted there is no way for them to check playback to see if the takes are dead on. Don't the ear-bugs have small antennae? We have several nearly shaved-headed actors. We only are shooting 720P, but the antennae would be all too visible. Thanks, David
  10. Our Avid folks create the picture tapes that have countdown beeps. The clip repeats several times. The beeps are not in any particular tempo as one might expect on music playback. I'm not sure what the best practice is... David T.
  11. Jeff, I use Metacorder and will check out ADR Studio. Our sound crew generally averages a 8 hour day on a contract for a guaranteed 12. Also we often have one or two dark days per week that I would like to fill since I have three good boom ops who planned on 5 day weeks that all too often have become 3 day weeks. However, my primary concern is not to increase our work days, but to fix my production sound track. I'm on a sitcom that should have 98% useable audio, yet MOST of our tracks are being spoiled by a tool that the director feels that he needs. Yikes! Hence the query about proper ADR. Much thanks, David
  12. Could someone please describe how first rate ADR setups operate? How do I say this without a two-page tirade? The show that I’m on has numerous sound issues. The director’s latest idea will cause most of the lines to be looped. The show is a sitcom on sound stage where director plays laugh track from sampler over the PA-- loudly. (He thinks this helps the actors…) It seems to me that my poor-man’s looping setup will not be able to keep up with the large amount of looping that will soon be required. Our system is primitive. Post makes tapes with the three o duplicate clips of the take that we need to loop. We play the clip back from a tape deck in the control room, the actor on the stage watches the clip on a monitor, and hears the audio from the videotape via a Comtek. I record the new track and the old track (Metacorder) and send the DVD to post with appropriate logs. The looping setup that I have here seems OK for looping the occasional line that we missed due to wide shots, but not for replacing entire episodes. I have no idea how much time is should take to loop say, 20 minutes of each show. There is a house in Atlanta that does ADR and I would prefer to send this huge amount of work to them and get it off my plate. I am curious how the pros do ADR and how much more efficient the big boys are than my home made system. What I am hoping is that the studio here that does ADR will have a quality “Hollywood” workflow. The catch is that thus far, I don’t know what quality ADR is. Thanks, David Terry
  13. My old preference was to be far enough away from the set that tape delay was not a problem, but close enough for one section of boom cable and RF mics to be easily within range. (Around 80 feet.) Tape delay is a thing of the past, yet I still prefer to be a room or two away. Success is not having to move all day, away from crew traffic (not in their way), and far from the endless chatter of V village. The cart has a small footprint, yet is densely packed. This has been a bad year for cart parking. The closet (some call it a control room) that I have been working in since February is 250 feet of boom cable away from the stage (times three booms). My room is right by the street and the walls so thin that I can hear what folks are playing on their car stereos. The TD is so loud that I must use Trew Audio High Noise headphones. I added a third monitor to my cart. (so that I can always see at least one ultra wide shot) It took several episodes before I could get a spy cam so that I could see the booms. (Sitcom, almost no rehearsals, tons of adlibs) The producer fought me for weeks about the spy cam (under $400). He said, “The mixer was showing off and trying to do things a certain way only because Hollywood guys do it that way” They still do not understand that their show has a when the mixer can neither see nor hear. The 2007 version of Production 101 is to put sound anywhere (“nowhere “is preferable) and then ask the impossible:) I’ve a few days off from the sitcom but just turned down a shoot because during the last commercial I worked for that company, I could not bring my cart inside the restaurant where they were shooting. No boom op, difficult to hear cues, or director’s constant changes, six person camera department, sound on every take, “The director needs to hear the fizz in the soda when it is poured—on wide shots” at least 12 different folks speaking during the day, 15 headsets, adlibs, they wanted to roll 20 minutes after my call time, G & E had been there for hours. David Terry
  14. (Jeff, I tried to post this earlier and somehow the message did not seem to upload. Hopefully the message will not appear twice.) Some of you may recall that my entire (uninsured) sound package was stolen last August. This morning 99% of that gear is spread out on my living room floor. It may be a while before I can comment about details of how the prodigal package returned to its home, but I will post that info as soon I can. I keep thinking of so many people within our sound community who have been supportive during the past few months. Much of the support originated in Jeff's site. I will write more on that topic soon, but for now I repeat my deep appreciation of the good will that has come my way. The stolen package sits by the new replacement gear. It's a beautiful, messy pile of stuff. Time to sort and clean, before today's call at noon. There are some enviable problems to solve…like can anyone get me on a bunch of commercials where I can rent 28 client headsets? To say that I’m euphoric is to understate the case. Best wishes to all, David Terry
  15. And I thought that it was just the Atlanta crews that had developed lousy set manners. I don't recall other threads here or on RAMPS about rude crews making noise. I don't know whether to be happy that I am not alone, or saddened that the problem is industry wide. Our crews do everything that you can imagine. Hair and makeup, when they come to set have to talk during the takes. They are not as loud as G & E. Video village is a party. Over the years I have damaged my ears, turning up the headphones so that I can identify who is the worst offender. My ears will never recover. Now I keep the headphone level down but politely let folks know that my gear is so clean and has so much dynamic range, that everyone who makes the slightest sound is guaranteed to be recorded. David Terry
  16. Does not the Jensen ISO Max transformer that Wolf recommends offer protection from the picture feed from video assist? My audio feed to video village has been 100 % wireless since 1999. My stolen cart was 12 volt with a swithing power supply floating to keep the battery topped off. If the shore power (or genny) went to 240V, only the switching power supply would suffer. The new cart will have an upgraded supply similar to the old one plus isolated DC feeds using DC to DC converters. The thing that scares me about wireless boom is the same thing that scares me about all the wirelesses I am buying since the break in. When will the 700MHz stuff be blown off the air? It's crazy for a small guy like myself to buy a $6,000 wireless that may be useless in 18 months. David Terry
  17. I have owned Audition for several years but never learned it. Bruce Williams seems the perfect Audition guru. Williams is what I call a professional-amateur. This term may seem an oxymoron, but is in fact high praise. He is a professional because he knows his craft and is paid for it. He is an amateur because he loves his craft, from the Latin verb “amo” (to love). It knocks me out when I see humans such as Bruce creating a wealth of knowledge or tools, and then placing them on the Internet for the rest of us. Linux and the open source movement come to mind. Jeff’s site is an obvious example. Thanks for the connection, Rory. David Terry
  18. Rory, I am surprised to find that I have almost zero anger. I am touched by the kindness of people in our business, extremely disappointed in my own carelessness, and quite determined to come back with improved equipment, business skill, and a renewed appreciation of my craft. Thank you for your kind words. More on topic...A database for stolen gear should be welcomed by our industry. Computers are everywhere. Let's use them. I regret that I did not keep records of my equipment info on my home network. David
  19. Jeff and group, Early yesterday morning my van was cleaned out by bruglars. The equipment was uninsured. Most Atlanta mixers do not carry equipment insurance since the gear is covered when on shoots, and the market here is so economicaly brutal. Hopefully today I can find some serial numbers for some of my gear and update the list below. This has been a painful event. I could not sleep and guess that maybe I'll go run 15 or so miles. (I started running as a hobby to keep in shape for demanding shoots, so now it pays off as therapy exercise at 3AM.) hoping for a break with Atlanta Police Dept (but what are those odds?), David Terry Stolen Gear: David Terry- Rollingsound 1216 Beech Valley Road NE Atlanta GA 30306 404-874-484 terry@rollingsound.com more gear and serial numbers to follow This list is my 5 AM Oh my god my sound truck has been looted version: PSC cart PSC M8 audio mixer Deva II, hard disk recorder SN#10228 2-Remote audio DVD-RAM drives Fostex PD II TC DAT machine Fostex PD-4 TC DAT machine SN# 0941070 Motu Traveler audio firewire-audio interface 2 Deneke back lit Time Code slates (EL) Lectrosonics Venue system Block 27 4 Lectrosonics VRT receiversn Block 27 1 Lectrosonics 205 receiver 4 Lectrosonics 200c transmitters 1 Lectrosonics 195 transmitter & receiver 1 Lectrosonics T-1 transmitter 1 Lectrosonics T-2 transmitter 7 Lectrosonics R-1 receivers Block 29 6 Comtek Pr-2 receivers SN 162762, SN 162761, SN 135932, SN 155201 2 Comtek transmitters 2 Lectro SMA 600 antennae on mast PSC M-4 Mixer 2 Fostex powered speakers 1 CMC 4 Schoeps amps (part of Schoeps microphone system) 1 Schoeps SKM5 amp SN #2602 2 Schoeps MK41s head 1 Schoeps figure of 8 head 1 SchoepsMK5 head Sn #9939 1 SchoepsMK 6 head 2 Schoeps cut 1s 1 Schoeps Fostex PD-4 ! Sennheiser MKH 60 microphone 1 Beyer 160 microphone Mic luggage containing: 12 Beyer (SM-58) microphones, several old cool looking microphones, 15 deck stands and rigging Several small black Lectrosonics bags containing 1. short cables for mixer bag rigs 2. Lectrosonics accessories 3. Power supplies for mixers, Lectro gear 4. Deva II cables- complete set 5. Several ENG style camera audio snake break-away cables and snakes, 2 Lead acid 32amp hour Pelican case batteries and charger in yellow pelican case 4 IDX NP-L-50 Lithium Ion batteries and charger Remote Audio 7 inch video monitor/hoodman 12 Sony headphones for clients 3 Sony 7506 headphones with Remote Audio boom mics 4 Sony 7506 headphones large white shipping case full of audio adapters Targa bag containing 2 label makers 1 HP printer 4 Sanken COs- 11 lavaliers 6 PSC millimic lavaliers 4 Countryman B-6 lavaliers Custom DC power distribution system WinPac windscreen system, Yellow Pelican case full of batteries and chargers Black Targa suitcase full of microphones, Blacke Targa bag with label makers- printer Lots of small black bags full of cables, Medium size white case full of audio adapters.
  20. John, Great question. Every spectrum analyzer that I know of costs thousands. I can't afford those. I use a scanner (ICOM PCR-1000) that attaches to the Mac that runs MacR-1000 software. David Terry
  21. Glenn, Do you have a URL for the presentation? thanks, David
  22. Jeff, Do you ever find yourself using 5 or 6 Schopeps, or did you end up with this many as your kit evolved from CMC4s to CMC5s and 6s? David
  23. In Atlanta the default frequency is channel A (72.100) I use them for slates and clients when my 10 R1s are insufficient. Recently they became almost unuseable. On an FCC site I saw that Verison had a license for that frequency. I haven't a clue what they are doing with it. The trend for radio mics has been leaving the VHF band in favor or UHF. I assumed incorrectly, that my VHF Comteks were safe in their unpopular part of the spectrum. I am looking for a reasonably priced ICOM PCR 1000 so that I can scan for something clear before springing for new crystals. David Terry
  24. The THAT-2 is the way to go if you want to only buy one interface. Simplicity is the key, since it works on almost any telephone, regardless if it is POTS (plain old telephone service) or one of the multitude of digital phone systems. As mentioned earlier, it can work with all of these phones because it is inserted between the handset and the phone. It is not a true hybrid that can seize the line and do great nulling like the more expensive digital hybrids. However hybrids that seize the line usually require POTS. Fewer and fewer locations (businesses) have POTS. Because of this I don't keep hybrids on the truck just a THAT-2 and a Gentner Microtel. I prefer the THAT-2 over the Gentner. In days long past, when Brokaw or Jennings were anchoring their shows at remote locations, we would have the phone company install severas POTS lines, for IFB, Camera PL, and co-ord lines. I would always use a line seizing hybrid for IFBs. As the nets got weirder, and more careless, these lines devolved to cellular phones on the uplink truck. David Terry
  25. Jeff, You mentioned that you were about to start a show. It will be interesting to see how things function on your site while you are busy earning a living. I think that things can run on their own, but your frequent input will be missed, but understood by folks like myself who frequent your forum. David Terry
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