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About nickreich

  • Birthday January 1

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    I do Sound For Picture and Location Recording - primarily for projects involving Theatre, Live Performance or Live Speaking events. Projects range from full-length films of Theatre and Opera shows, through to EPK/TVC shoots, Documentary and Streaming.
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  1. If you are unfamiliar with Arri camera timecode, best be aware of the following. There are two TC Mode options available in recent model Arri's for "jamming" to external TC: "Regen" and "Jam Sync". In both cases you want the "Run Mode" to be "Free Run". While the wider industry uses the term 'jam' to mean either connecting the recorder once, or leaving a TC box on the camera - in the Arri world, this is not the case and causes confusion If you want to connect TC from your MixPre at the start of the day, and I'd suggest at the end of Lunch Break, and 'jam' the camera's internal TC Generator to that - then select "Jam Sync" TC mode. In Arri cameras - this means sampling the incoming TC for around 30sec (sometimes longer) to accurately 'tune' the internal generator to the external source. After that time, it carries on using the Internal generator ONLY. You can disconnect the MixPre. In theory, Arri claim that this 'tune' will hold across battery changes and going off-speed, but I'm not convinced - especially for lunch-break type lengths of power off. If however you want to use an external TC box attached to the camera all the time (more common in professional practice) - choose the "Regen" TC Mode, as it's continuously referencing the external TC source each time a camera file is started.
  2. As a Theatre / Awards Show mixer - the reason we want the TXs left on all the time is not really so we can PFL them at any time. Monitoring the radios is the job of the backstage radio techs on a large live show with a multi-person crew. The main reasons for leaving them on continuously after pre-show checks are: 1) to prevent the slight chance of someone being sent onstage with a transmitter turned off (and bypassing a backstage check before they go on). 2) the more real chance that the (analog) receivers of unpowered transmitter channels are susceptible to going off and finding some other RF Noise signal to make them un-squelch. Sometimes this can cause them to output full-scale audio hash which is just plain annoying to see on the console meters when mixing. Back in the day, certain top-end analog consoles favoured by Theatre especially had the unfortunate feature that such full-scale noise could leak through a channel that was "VCA Muted" and be audible in the mix.
  3. If your initial device, with the Analog to Digital convertor is outputting 24-bit AES, having a larger bit depth available in the transport or recording path isn't going to help you. AVIO AES devices automatically ASRC (Asynchronous sample-rate convert, aka 're-clocking') the AES to match the Dante Network clock and settings - but that doesn't increase the dynamic range originally converted.
  4. I use an app from Germany called Logster, exports .csv files which I then drop into a sheet in a template Excel workbook, the Sound Devices 970 .csv sound report goes into another sheet, they get re-formatted a bit then I manually combine and sort them into the final report - I'm sure with a bit of effort I could automate them more, but it's reasonably quick. In the stuff I do, I need timestamped notes within the run-time of a single take on the recorders. Logster has the advantage that it'll chase LTC coming in the headset socket of the iPad, I have a Tentacle Sync stuck to the back of it - meaning it's accurate for non-integer TC rates like 23.976FPS which I get a lot. It seems to be a University project, so will probably stop working with the next major iOS update however. I tried MovieSlate, bought the sound dept extension etc. but it didn't suit my workflow. Logster is typed notes only, no voice.
  5. nickreich

    ARRI timecode

    I do a lot of projects shot in a similar style to the one Philip has described - both TVCs and full Cinema releases of Opera and Musicals. Almost always between 3 and 13 ARRIs. The difference is I've NEVER been asked for Playback Timecode (I call it PBTC) on a slate - the speed my various clients move at they barely squeeze in the TOD slate for the cameras. Some have previously wanted PBTC sent to a camera audio track but more common nowadays is top mics (for absolute emergency syncing only) and TOD TC boxes on cameras (via Lemo TC ins), and I run a production recorder on TOD TC in the usual way, with playback guide audio and PBTC on an audio track that they sync in the edit in the usual way for 'normal' narrative film. I've never got to the bottom of how they go from that in the edit to a multi-cam timeline with all of the takes for a particular song stacked - but they do! Either way - I sometimes also do Audio Post on these projects and the PBTC, as both a window-burn the Editors provide on my guide video, and the LTC audio track that has gone through the vision edit (hopefully muted!) are invaluable for re-syncing with the pre-record multi-tracks.
  6. I use K&S Precision Metals .025 (.64mm) Music Wire - available from Hobby stores. It's the thinnest I'd recommend and this particular brand is springy enough - don't go on size alone, maybe go one size thicker for your first attempts. I put clear heatshrink over the areas in contact with the back of the ear. Back in the days before such headsets were commercially available we used to make them out of Coat Hanger wire completely covered in heatshrink, with the mics taped on with Micropore. Very rugged but not that cool visually nowadays!
  7. Many of the professional 'Broadway' shows make their own headset 'frames' out of stainless steel 'piano' wire and attach normal Lav mics to them using either Hellermann Sleeves (short rubber tubes) or the smallest size monofilament fishing line using a whip-finisher tool. They do this rather than using the off-the-shelf headsets as the bespoke ones are more rugged, fit the performer they are made for better, and don't stick out the back of the head like the commercial ones as they don't need to be adjustable. The downside it that its a permanent build - not a drop-in and drop-out solution like I think you want. Point Source Audio make an ear-hook solution you can pop a lav in and out of, which is big, ugly and over-priced - but still not a headset per se. Sennheiser used to make exactly what I think you are asking for - a plastic headset frame that you could clip a MKE 2 lav into, and pop it back out in seconds, but they seem to be discontinued, and were only popular in Schools and such where the look of them was deemed to be acceptable. They were also designed for a slightly thicker cable than currently used on pro-level Lavs nowadays.
  8. I find decent 15" and Horn self-powered speakers, such as the JBL SRX 800 series can usually suffice as a Thumper for smaller indoor spaces (for example smaller shopfront cafe spaces or a "band rehearsal room" type scene). Pretty much all boxes with a 15" LF will be dropping off in level already at the 40Hz range I do thumps in. There are larger 3-way all-in-ones from JBL and others with an 18" LF driver that can do better and are still flat output down to around 33 Hz, but they are not practically portable enough for my liking - I prefer the separate single-18" sub with a pole mounted 12" and Horn high-mid box rigs instead as they are a lot easier to get in and out of vans etc and more versatile in deployment. This also means only the Sub has to be timber construction, you can get away with much lighter plastic high-mid boxes.
  9. if you still have copies of the corrupted files, you might like to try Audio Rescue from Pokitec (the developer of Boom Recorder). It's free. I don't think they are still actively developing anything, but the website is still there and Audio Rescue has worked for me and others in the past, better than something like Audacity - as it was written to be timecode-aware. Mac-only. https://www.pokitec.com/downloads/
  10. I'm pretty sure the Alexa LF, like the Alexa, can't Genlock at all. I looked into this last year when I was about to shoot an Opera with three of them (covid-cancelled a few days before). Apart from that - I've only used Ambient on Minis when genlocking from TC, so can't contribute anything useful - but maybe measure the level the Betso is outputting vs the Ambient that works - it might be lower or higher than the Arri can lock onto.
  11. With headsets, always tape the cable to the centre of the neck with surgical tape (I prefer something more flexible like Blenderm to Transpore (called Leukofix here in Australia). Loop the cable a bit from where it comes off the headset to cross the centerline of their neck at a 45 degree angle back towards the side the mic is on, so they can fully turn their head each way without it going tight. Definitely Omnis only unless you have PA feedback issues (and even then the advantage of Cardioids is not as great as you'd imagine). Often headset mic capsules are susceptible to wind noise from the capsule moving through the air on a fast-moving performer/gym instructor. Much more so than the forehead mounted lavs typical in Theatre for some reason - probably because the capsule is in free space. So while they don't look great, the 'add-on' windsock is a good idea. If they are still moving around a bit of tape behind each ear helps. If the boom is sitting tight to the cheek of male talent, make sure they shave just before the shoot as the boom rubbing on facial stubble is very audible.
  12. The fun thing with the old 37MHz Sennheisers was the length of the transmit aerial on the body pack. I did Theatre shows with them back in the day, and with the transmitter in a belt around the performer's hips, we'd run the aerial up and over the shoulder and pin the end to the upper chest through a little rubber band taped to the end of the aerial to keep it tight as they moved!
  13. I've used a rented QL-1 on carts built for specific shoots (both reality shows and Theatre show film shoots shot 'narrative style'). I don't run a permanently built cart as my work is too variable - though my own 01v96 still does the bulk of the work. I'm more than happy to use a QL-1 for these uses - though the 32 channel limitation on the Dante IO is annoying. I also use QL and CL series consoles a lot in the Live Sound work I still do a bit of (though strongly prefer Digico for that). Happy to have a go at answering any questions you might have though.
  14. it bi-directionally copies transport control (and Metadata in one direction) between a Sound Devices 970 recorder (using it's built-in web server) and Boom Recorder software on a mac (being used as a secondary or backup recorder) so you don't have to enter it in both places. They coded it for a Reality Show client and then made it available on the web. I just borrowed the bit that reads play and stop messages from the 970 to Boom Recorder so it makes 'files' in sync - for the purposes of making the 'sound report' as described.
  15. Hi Bouke, Livelog looks interesting - I look forward to trying it. I've been using an iPad app (Logster) for this, but in some setups having something that can run on a Laptop works better, so I've been using Boom Recorder (actually recording one track's files which I may then discard) simply as a LTC Logger / report generator - using a cut-down version of Gotham Sound's applescript to trigger from the SD970s via Pixnet. Yes I did try out "LTC Reader's" video slave mode, it works great but as I already own licences for the software from NLE called "Video Slave" which does a similar job and I'm familiar with it - I've stuck with that (and there hasn't been any real work for almost a year in my Industry anyway due to COVID!).
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