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nickreich

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Everything posted by nickreich

  1. We do color-matching (painting) of mics all the time in Live Theatre sound - but generally only for lav mics mounted on the head - not so much for "Headset" mics like the 6066. A couple of reasons why: Firstly, the "headset" style mic is always going to be overtly visible, whatever the color (of course, picking a Beige or Black unit to suit the talent is a start). In fact, quite often the choice to use a 'headset boom' style of mic rather than a head-rigged lav is more for the look. Secondly - apart from the metal end of the 6000-series capsule - with the lav mics, the cable of the lav can be colored quite easily in a number of ways. The two most popular in 'Broadway' type shows are Copic Markers (a sort of marker used in Graphic Art) and Shoe Paint (the spray-can type used to re-color shoes). Don't use Sharpies - the color isn't stable on the lav cable material and goes purple. With "Headset" mics, the boom is also metal, and in the case of the DPA booms, won't hold Copic marker at all, and Shoe Paint will peel off it in a day or two. You'll get a better result on Headset mic booms by roughing them up with super-fine sandpaper then using TAMA or similar modelling paint intended for metal. Note DPA have just announced white paintable capsule 'caps' or sleeves for the metal capsule end of 6000-series mics - I'm not sure how available these are yet. I have seen many attempts to use Makeup products to color mics, usually when a Pro Theatre crew used to color-matching finds themselves working on a short-run show with rented mics. No-one I know has ever found a product that stays on in use byt comes off cleanly after. Of course in Professional Theatre 'running' shows, the mics are an expendable, sold to Production, so coloring them irreversibly is not a problem. If this is a short project or shoot and re-prepping the mics every time they are fitted is acceptable, one trick that might work for you however is eye-liner pencils. You'll never get a smooth coating, but diagonal strokes of an eyeliner color that's darker than the skin, on a headset or cable thats a bit lighter than the skin, can do a good job of breaking up the continuous line of a mic and camouflage it a bit.
  2. This is great - I'm wondering if there's any chance of an audio back-channel (talkback from remote viewers to Set) - even if restricted to one remote user. Ideally with a momentary 'push to talk' button at the remote end on the browser window. Audio can be lower-resolution than the outgoing channel.
  3. What you are wanting is more complicated than you might first think - but it was very common in the past on larger Theater shows, for example, before the specifically-designed wireless headset systems came on the market - to enable Walkies to be integrated in wired headset party-line comms systems. The problem is on most film sets, the walkies (ie Motorolas) are being used in 'simplex' mode - on one frequency per Channel, and only one can be transmitting at a time. Getting outside audio into such a system is difficult - as you need some way to 'key' the transmitter that the Zoom audio is coming into when (and only when) folks on the Zoom side of the system need to talk. There is really no way with Zoom or similar systems to provide a 'Push To Talk' function to key a hardware transmitter. People often try the 'VOX' (voice operated switch) mode on a walkie to make this work, but it's rarely reliable. The trick is you need to be running all your walkies in 'duplex' mode. This is the mode used by mobile radio systems to talk through a 'repeater' on a tall building or hilltop for more range. All the walkies transmit on one frequency and receive on another - specifically allocated pairs per channel. The 'Repeater' is a Receiver feeding a permanently-keyed Transmitter - using the opposite frequency allocation. In the link between the two parts of the Repeater, it's possible to inject other audio (ie the chatter from Zoom) and extract the audio coming from the walkies (to send back to Zoom) - but you need additional circuitry to keep the audio from each side (Radio and Zoom) from getting sent back to where it came from. Most of the major Comms system manufacturers, like Clearcom, make such gear, and Radio Comms hire shops that are used to supplying live performance users should have systems. All commercial grade Walkies on the market will handle Duplex mode, but as you need two allocated frequencies per channel - it's more expensive to rent or buy - plus you need to set up your own local Repeater (more commonly called a Duplex Base Station in this application) on location before anyone can talk to anyone else. Make sure to ask for at least one Simplex channel as well as the Duplex channel so walkies can be used 'stand alone' if the Base Station hasn't been powered yet.
  4. check out the video on Gotham Sound's youtube channel about the actor spacesuit comms system they supplied for 'Lost In Space' a year or two ago. Most live or theatre sound hire shops in London should have suitable DPA or Voice Technologies or Countryman headsets and the adapters to Sennheiser 3.5mm TRS. All the major brands have adapters and all make 3.5mm ones. Try Autograph Sound or Orbital. Assuming you get proper earpieces intended for IEM use, or the telex plastic eartube type earpieces, you should not get any appreciable spill from IEM to Headset mic. If you try and use 'vented' earpieces, like generic iPod earpieces, you might have issues. Ideally you'd get custom IEM moulds done for the talent, but probably cost-prohibitive for an indy film.
  5. your natural instinct would be right - except for the fact that Sound Devices (either intentionally or not) didn't correctly implement this feature of the Brooklyn II Dante card inside the Scorpio and 970 (and presumably 888) - so even though Dante Controller allows you to tick the 'sync to external' checkbox, it will subsequently throw up regular Dante clocking errors. If they intentionally chose not to support this feature, they could have prevented that checkbox from showing in Dante Controller. Sound Devices has said to another user on the JW FB group where we were discussing this earlier this year that they are looking into fixing this for the 8-series down the track - but for now, it's not an option. I don't own an 8-series, but that user did and reported the same error on his Scorpio - which SD acknowledged. They most certainly DID NOT put out firmware that fixed the problem in the 970 - I own two, and operate another four, all on the latest firmware, and the sync-to-external problem persists. Maybe you are thinking of the firmware update when they added the ability to select Dante as a sync source for the 970?
  6. No, I don't muck about with offsets - that would indicate Sound taking ownership of a Camera issue. I do like to get a TC slate shot at least at the top of the performance, as if it and the sound TC agree, it's easier to convince unaware editorial staff that it's a Camera thing (and makes it dead easy for them to see what offset to apply when dropping the clips in their timeline). With the setup I suggested, Reaper is at least running of the Dante Network Clock, so will be pretty well calibrated - better your average Camera's internal clock without genlock. In tests I've done, you might see as little as a couple of frames up to maybe 6 frames in half an hour. Certainly easily fixable in the edit if you have to use it - but still looks bad to a professional Post dept that might not know you personally.
  7. Hi nevo, Filming Theatre plays and Musicals is a specialty of mine. Your thinking is correct, but there are a few issues you are going to run into with the gear you have that will need some work-arounds. First, yes using the Scorpio as the master audio recorder and Reaper as the backup is a good idea, lets leave reaper for a moment and look at the primary chain Sync plan. When I do these projects, I use Ambient TC boxes, but I'm sure the Ultrasync Ones (USOs) will be fine, and like you, I use sync boxes as the TC and WC source for my recorders (in my case, Sound Devices 970s). I am guessing you are planning to route the individual audio inputs to the recorders from the TIO interface via Dante directly, rather than patching through the X32, then the X32 will be making mixes that will also go to the recorders via Dante or analog (in the case of the Scorpio)? Here's where you have to be a little careful. Firstly the Scorpio, like the SD970, does NOT currently allow you to sync the Dante Card inside it to the word clock from the Scorpio's circuitry or external word clock fed into the Scorpio. In the setup you describe, the Scorpio or the X32 are the only Dante devices capable of being the Clock master for the Dante network (unless you are using a RME Dante interface for your Reaper computer, as opposed to Dante Virtual Soundcard - in which case you are in luck). Therefore, you really have to treat the entire Dante system (TIO, X32 and the Dante card within the Scorpio) as if they were just an Analog mixing console and cables for the purposes of planning your Sync system. You sync the Scorpio off one of the USOs (more about this in a minute) and Genlock the cameras to other USOs and your audio will stay in sync with the cameras for the duration of an Act just fine. LTC from the USOs line up the files. For some reason, SD have chosen with the Scorpio to put the WC In and Out on the same Lemo that does TC in and Out - as a software switchable option. Therefore, you can not input BOTH Wordclock and LTC to a Scorpio at the same time. Realising this was an issue, they have allowed LTC as a choice in the Clock Source menu - ie it uses the timing information inherent in the LTC stream as a Wordclock source. You would choose this option to sync from the USO dedicated to your recorder. I'm used to the Ambient system, which uses an RF network to continuously 'tune' all the TC boxes to be in perfect sync - not sure if the USOs do this as well or just jam once over their network, but even so, using the USO on your recorder is likely to give you a better drift result in these long-take projects than using the internal clock and LTC from the Scorpio as master (but you knew that already). The Dante network will just elect either the X32's Dante card or the Scorpio's Dante card or the TIO as it's master - whatever - the Scorpio re-clocks the Dante channels internally to match the chosen WC source and this process does not cause any drift. The bigger issue is your backup Reaper system. Assuming you are using Dante Virtual Soundcard rather than a hardware Dante to USB / Thunderbolt interface, it will be locked to the Dante Network clock - which bears no relationship to your USOs (and therefore the Cameras). You must set the X32 to clock from the 'slot' (ie the X-Dante card) for Dante to work at all in that console without glitching, and as Philip has pointed out, the X32 doesn't have Wordclock (or even AES) In anyway. This means your Reaper recording can only be an emergency backup, and be aware if you need it, it will drift from the cameras and need fixing in the Edit. The way around this, if desired, is to either use the aforementioned RME Dante interface or insert any other Dante Device you can get your hands on with a Wordclock In connector (and the ability to sync the Dante Network to that) into the Dante Network - even if you don't need it for Audio IO purposes. Just set that device as Preferred master and Sync To External in Dante Controller, and feed the WC input from the WC Out from your 'recorder' Ultrasync - as it'll be un-used by the Scorpio. Reaper can chase Timecode in recording, but it's not very straightforward. Lots of menu settings to make it work. As for the Cameras - depends on which model of Arri: Alexa (full size) - DO NOT HAVE GENLOCK. This is why my regular Theatre-filming clients do not allow them for this type of work. I have other clients that do use them (they want LF version, typically) - in this case we usually insist the Cam Ops button-off every 10min or so under co-ordination from the Director so only one is off at a time, in a place that doesn't cost them a desired shot. The Cam Ops need headset comms for this. This creates new timestamped files and reduces drift. Not ideal, really. Alexa Minis & Amiras - these both have Genlock and you have the choice (which I choose) to Genlock from the LTC input from the USO sync box. With the Amira, you have to set the TC BNC to be an input rather than output in a menu, as well. Be aware (if you aren't already) that the TC mode you want is Free Run, not Jam Sync. In Arri-speak, Jam Sync, a relatively new addition, is where the camera samples the incoming LTC/Genlock speed for about 30sec and 'trains' it's internal clock to match - after which time it ignores the sync box. It works OK for a Steadycam who doesn't want the sync box left on, but if you can leave the box there it's safer to do it the 'old way'. I pretty much guarantee with any Arri taking external LTC and Genlock that there will be a 1 to 2 frame Offset on the timestamped LTC as compared with the Recorder or a TC slate. This is an offset, not drift, it sometimes freaks out less experienced DITs or Edit Assitants but is very easy for them to fix in Post.
  8. If a TC Slate is impractical, assuming your GoPros are the newer ones without the built-in 3.5mm audio input jack, maybe get one of the USB-C External Audio Adapters they sell, and connect one of the cheaper timecode boxes to it - such as a Tentacle. Then you can briefly plug it in to each GoPro as you put them into record, and capture a few seconds of timecode (LTC) onto the audio track. This of course needs to be done each time you stop and start recording. After the shoot, drop all the files into Tentacle Studio (or most 'pro' NLEs - eg Resolve) and it'll timestamp the files from the audio timecode.
  9. I like Twistedwave on iPhone / iPad, though it might be a little intimidating to a really non-technical person as it shows several editing tools (not that they need them). File Export (sharing) is easy and comprehensive.
  10. 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.
  11. 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.
  12. Thanks Constantin, I thought that was the case, but was hoping it had been enabled since I last used one.
  13. 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).
  14. 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
  15. 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.
  16. 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
  17. 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.
  18. Speaking of which, Line Audio have just announced the followup to the CM3 - the CM4. Higher output, same price. Hopefully with a similar sound.
  19. 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?
  20. 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.
  21. nickreich

    scorpio!

    it's the Cash-More preamp!
  22. 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.
  23. 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.
  24. nickreich

    Tumbleweeds

    well, to be serious, with all the Ambisonic stuff going on nowadays, a QPDR (4ch) would be a success, I think.
  25. Bouke wrote: @nick, you can also walk around with your master TC device, insert that and record a few seconds or so on the cheap device, switch back to mics and then have my LTCreader to 'work on wave', and let it rip away. It can do the same thing, reading the LTC and setting the guessed values on all other files from that folder. I thought of that, but unfortunately the Zoom H3-VRs don't have an external input - only the onboard ambisonic mic array. I actually tried feeding TC into a small speaker and holding it close to the mics, but neither your LTC Reader (demo) nor the Tentacle software could decode it.
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