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Everything posted by PMC

  1. The Invisible Lav Covers really work much better than Rycote Undercovers? The fabric material of the Lav Covers look so course in the product pictures.
  2. BLAHAHAHAHA. DPs I work with frequently have heard me say in desperation over wardrobe noise, "If this last mounting scheme doesn't fix the rustling I have a staple gun."
  3. Yes, directly to the skin. This is medical tape for securing an IV to a patient. It works very well. The tape is semi clear with tiny dimples. It is widely use in my region. Don't use the white tape.
  4. I concur about the ursa strap and rm-11. The problem is 80% of the people I mic are civilians in their own wardrobe. I don't get the luxury of time or having the subject remove their shirt/blouse in order for me to place the devices. On rare occasions I even resort to the old school method of sandwiching the lav between two tape footballs.
  5. I rarely use mole skin anymore. I only use it between really scratchy fabric and the lav head. Nexcare tape does not stick well at all to skin or fabric for me. I use it frequently but only to wrap the lav head as a stand off to get the head away from skin and fabric.
  6. 80% of the time I mic the ladies right on the skin in the cleave just below the hem of the blouse. Actually, I instruck the female makeup artist to place the mic or i demonstrate, then hand the lav to the talent while my back is turned. Been doing this for years. I wrap the lav with a couple winds of Nexcare as a stand-off. Very rarely do I get clothing rustle. But can't do this with athletes because I hear their heart beat. For the gents, 80% of the time I hide it in clothing with undercovers or an ursa mount. Far more susceptible to clothing rustle though. I haven't tried the Manzeer or the Bro, lol. I mainly work on commercials, docs, and industrials. One movie I worked on I saw the sound mixer cut a small slit in the neck hem of a T-shirt and fish a B6 lav from the back to the front. For sweety skin application, when working with athletes or the TV show "My 600lb. Life" I use kinesiology tape. Never has fallen off and comes of cleanly but remove it sloooowly.
  7. In my view what you are doing sounds fine. it's economical too. What i have been doing for a while is sending clean mix to the camera (c300 or fs7), hooking up the HDMI output of the camera to a CAMLINK 4K usb capture device connected to my laptop and beaming the client sound and video via zoom or googlemeet. Sounds and looks good. They can even conduct remote interviews this way. I'm doing one tomorrow with a tele remote controlled iPad teleprompter. I am the only crew on sight. Client and agency and teleprompter op will dial into me remotely. There is of course an up charge.
  8. I experienced the same thing when I shoot on my Sony FS7 but with 8 channels of sound. This is due to the XAVC codec in an MXF wrapper. Just the way the codec is implemented. Future proofing? I can actually only record 5 channels of sound on my camera (including the camera body mic). But I can deliver 8 channels of sound on export using the codec .
  9. I just checked out the link. Good looking bag. Thanks!
  10. Only $25 US for that hip bag? I can only find Portabrace hip bags starting at $119. Please provide a link. Thanks.
  11. A gaffer friend just sent me this pic after my day of mixing and booming in 40 mph winds.
  12. As a DP, the only time I will use two different camera technologies is if one is on sticks and the other is on a Movi (gimbal). If both cams are on sticks and i am renting, I can think of no reason why your DP is geting two different cams.
  13. I totally agree. If your camera only has two audio inputs send a dirty mix to one channel and the TC output to the other channel.
  14. If the camera manufacturer hobbles the otherwise professional camera with no TC I/O (like the FS7) then send the TC signal as LTC into one of the audio channels of the camera. I do this with my FS7 with either my Denecke box or tentacle box. Then sync it up to my SD664 sound files on the timeline.
  15. This "muffled dialog" thread reminds me of what I thought when I saw the 2010 remake of True Grit with Jeff "mumbles" Bridges. His performance, in my opinion, was very distracting. I kept thinking, "put your teeth in or take the marbles out of your mouth. Enunciate the friggin words." The mixer must have been pulling his hair out trying to get intelligible dialog. The boom op probably got in trouble a lot trying to get his mic inches from the performance while not being able to keep up with the day's side sheets. I bet that mixer said, "Why do I bother."
  16. On Docs and commercials, when I encounter issues like this I hand my mixer headphones to the AD or director and say, "This is what I hear. Do you want to deal with it here? Now? Or in post?" I haven't done this on a movie set. Then again, I havent done many movies. My favorite gripe is when arriving at a location where the director expects to capture lines to camera, I hear a remote condensor for the office central air system chugging away only feet from us. And, no, we can't turn it off. Production pays DP and Gaffer to go on location scout. Why not the Sound Mixer?
  17. $395 flat rate. Includes a 1 year warranty on P&L. My 664 is eight years old and needed a deep clean. They did a great job of restoring the look. I use this thing in conditions from dusty 98 deg Fahrenheit corn fields to 20 below zero blizzards. Iowa has it all. Last week was the first time the unit failed.
  18. I have been mixing a lot of political commercials over the past five weeks with half a dozen different DPs. I always try to get a video tap from the camera monitor to my 7" high bright sound cart monitor. This way i can monitor several things going on at the camera. Including frame rate. I'd say one or two times out of five I need to gently remind the DP that we are shooting lines to camera so he might want to take his camera out of slo-mo B-roll mode and go back to 23.975 fps.
  19. Next time this happens to you make sure the camera isn't in an over-crank frame rate, i.e. 40fps, 48fps, etc.
  20. I just got my 664 back from a four-day sleep-over at Reedsburg, WI. What they did: $66.77 in parts. Here's a current breakdown of what's being fixed: - hp encoder noisy, replace - new batteries as preventative - change out rusty screws - change out corroded battery tube - resolder and reseat LCD board to board connections as this was the main failure - clean and bring up to factory spec I also upgraded to the new LCD screen. It is probably twice as bright as the original. In fact i have to turn the brightness down when indoors.
  21. Ha, Ontariosound. When I watched live sports, I now prefer to watch recorded sports from previous seasons when it was more sport and far less politics, I listen on my 5.1 system and mute the center speaker entirely in order to remove the sports casters taking about a player's high school grades or that the player's 3rd cousin died in a tragic fishing accident. Really, play by play is getting worse in the US. It is pure pleasure just listing to the game and refs in stereo.
  22. THIS! "When he watches films or TV shows at home, he turns on the subtitles in case of clarity issues – he is far from the only one – and will limit the TV’s dynamic range. (On home TVs the dynamic range is more extreme than in a cinema: this is why you often have to turn up the volume for dialogue, then down again for action."
  23. It was a stupid mistake not bringing MY H4n on the job. I just haven't used it in years and didn't think. I bought it for a PA to use on a low budget movie years ago to capture atmos and haven't used it since. That mistake has cost me roughly $370 in fuel and rental on top of not being able to record split audio for one day.
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