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nickreich

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About nickreich

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    Hero Member
  • Birthday January 1

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  • Location
    Australia
  • About
    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.
  • Interested in Sound for Picture
    Yes

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  1. If we are blue-sky dreaming of the ideal A2 or Reality Producer monitoring device - I'd add optional bluetooth pairing to a phone / tablet app with nameable touch buttons (similar to Wavetool or Nemesis Insight) to change the preset easier. Same app could be used for device setting cloning as you mention.
  2. yes - here in Australia too. I'm in pre-production for filming a large outdoor Opera. Cast are in their last day of four weeks the rehearsal rooms today, on-set on Monday (in theory) and the Government has banned events of over 500 persons (this seats over 2000). Haven't got the cancellation email yet - but no show, no film. The third in a row now, and ALL my bookings into the future are going to be subject to this given the niche of the industry I work in - as long as it lasts.
  3. Thanks Constantin, I thought that was the case, but was hoping it had been enabled since I last used one.
  4. Yes, as I said in my original post, the Minis can use either separate tri-level sync OR the incoming Timecode to Genlock the camera. The Amiras can do the same. It appears that the Alexas (full size ones) don't have the ability to Genlock any way. That's what I'm looking for confirmation of (hoping I'm missing something).
  5. Hi All, I usually see Arri Alexa Minis on my jobs, but have a shoot coming up with three Alexa XTs. It's been years since I've seen a full-size Alexa, so can anyone confirm that they still can NOT take external Genlock from a Lockit box (unlike a Mini or Amira - which can take either Tri-Level or Genlock to TC)? This is a Concert shoot - so I'd normally recommend Genlock. thanks, nick
  6. Most likely to block 48v Phantom Power from blowing up the audio output devices in the Receiver, should it accidentally get plugged into a Mixer or Camera input that previously had a condensor mic in it. I suspect that the reason they are in the cable and not on the Printed Circuit Board is either due to there not being enough room, or more likely they only thought of it when units started to be returned for repair.
  7. Hi ClassicalTenor, Like Tourtelot, I'm another member here who's work crosses over from the Sound-for-Film/TV focus of this forum into location recording & broadcast of Classical / Art Music. While he has well covered the equipment / room side of things, one aspect of your post worries me - the idea that your remote teacher is conducting these lessons in real time over a Teleconferencing style link. In general all of these services prioritise the video stream over audio quality - allowing just enough bandwidth to the audio side to adequately deal with speech. Your existing equipment will far exceed the sound quality available in your communications link. This is something I deal with regularly - remote monitoring of recording / filming sessions (and even more critically - Performer's Auditions) by musical staff or Composers in a different country over the Internet. I have not found an acceptable audio-plus-video solution for this yet with good enough sound quality (especially in both directions - if your teacher wants to 'demonstrate' a point). If you have to do this real-time (rather than transferring full-resolution recorded .wav files for critique) I would suggest you need to be looking at a decent audio-only streaming service for the Sound when you are singing - and use Skype or whatever for a parallel video link if you need it. Look for an audio streaming solution that uses the Opus Codec via Google Chrome - such as Source Connect Now or Cleanfeed. Both can be bi-directional as far as Audio is concerned, but whether both directions can be at the highest quality depends on the speed / quality of both ends' Internet connection. All the best with it, nick
  8. I think Leukoflex is the slightly stretchy matte-surfaced translucent tape similar to Blenderm, which is the go-to in musical theatre here in Australia. If so, I've used it and it is a very good option, although it (and Blenderm) do leave more residue on the mic cable than others. This can be hard to remove, the best trick is to use bit of Leukofix tape (the perforated tearable plastic tape) to dab off the residue - for some reason it grabs it right off the cable. As always, no matter what the tape says on the box, different performers will or won't be allergic to different things so you always need options.
  9. Speaking of which, Line Audio have just announced the followup to the CM3 - the CM4. Higher output, same price. Hopefully with a similar sound.
  10. nickreich

    Wireless GO

    On Music Playback gigs with no Boom Operator, I always tape a transmitter and lav to the back of the slate to get slate claps and AC call-outs on camera and my production recorder. I think the wireless GO would be ideal for this, except for the battery life. Can anyone comment on how fast it recharges - after 5 hours in the morning, if I was to plug in an external power pack at Lunch for 30-45 mins would I get another 5 hours run time?
  11. for Comedy Club or smaller (ie sub 2000 seater) Theatre venues, I prefer Hypercardioids to Shotguns for audience mics - they 'spotlight' particular audience members less, and it is a bit easier to visually aim the rear-side null to reduce PA spill a bit vs. a 416 or similar with it's stronger rear lobe. IMO there is nothing to be gained by going for a Dynamic over a Condenser mic in this application - when you gain and EQ a Dynamic to get the same sound from the Audience, it'll get the same PA spill as a Condenser if it has the same pattern. The theory that Dynamics 'drop off' more with distance is a bit of a myth. They are typically 'slower' in transient response, which can make percussive applause less jarring, so if you have to be real close with many audience mics, that might be useful.
  12. nickreich

    scorpio!

    it's the Cash-More preamp!
  13. only thing that could do that is if your "2 Track Monitor" button is on (switches your monitor source to be the "2-Track" RCA tape returns) - or maybe one of your PFL switches is stuck on. They are very basic mixers with no hidden settings.
  14. Hi Stef, If you have a copy of the recovered files (NOT on the original drive) it would be worth trying Audio Rescue by Take Vos from Vosgames (the writer of Boom Recorder). I and others have had good luck with this on files that look the right size but only partially play out. http://www.vosgames.nl/downloads/ It's free - worth a try.
  15. nickreich

    Tumbleweeds

    well, to be serious, with all the Ambisonic stuff going on nowadays, a QPDR (4ch) would be a success, I think.
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