Jump to content

Paul Ledford

  • Content Count

  • Joined

  • Last visited

About Paul Ledford

  • Rank
  • Birthday 01/01/1

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Worked Iceland in 2012 June/July. Great place, wonderful people. Quiet RF for the most part. We worked out away from cities. I had great range in Blocks 470,19,20,21. All good to use at that time. Very quiet backgrounds can be had in a number of places for boom work. Near the end of our first week in July we had RF spikes showing up and lack of range hits on the audio working a location in the interior area. Found out later that day, the Russians were running war games with flights near Arctic Circle and the radar sights lit up on that day. I found some clear space after scanning a
  2. I had the pleasure of working for Jerry Weintraub on the three "Oceans ..." films Steven Soderbergh directed along with Randy Johnson as our boom op and Larry Blake in post.Jerry Weintraub was a producer who in his time owned the phrase "larger than life" for he enthusiastically embraced the task of marking out the horizons in his work and life. In getting things done, he knew how and who and if not, he knew who to call to get back to how. It seemed he knew everybody in and out of the business. The list of guests we were tasked for comtek headphones to share a time with Jerry on set was just a
  3. While in Bueno Aires I used lower blocks (470 to 21) and 20 worked fine. As pointed out before results varies around town. Good advice from Karlsson to scan on location. I always scan on tech scouts and then use IAS software to crunch the numbers with the overlay from the scans to find the lowest noise floor among the 10 or so channels I am using. Here in the US ... the FCC tables do not always reveal all sources of RF one may bump into on locations with harbors and government buildings and installations. Both of which Bueno Aires has plenty of. Reads to be a great trip. Care for your gear an
  4. Between work and life, my calendar has never been open for this until this year. This shall be my first time and I am looking forward to being there and not pushing a cart around. Tickets booked and bring the next generation along. Paul Ledford
  5. check you messages. Get really good wind protection and be ready for the black flies.
  6. Doug, That sounds like quite the rig. Would be interested to know how it comes out and what on the final you used the most of. We were looking for something battle ready for field and easier to use on the move. I have not done any test of the TetraMic in a concert hall type space, but the stuff we got on the street is awesome and just makes me want to record every sound in the whole state and all of my children's music performances. Never mind dialogue! The listening we did at full level on the mix stage was indeed without noise in the quite spots and held even the loud hits from the brass
  7. On the last project I just wrapped up, we did a lot of street music recording and chose to test a number of surround mics. We ended up using the New DPA 5100 which is a 6 channel plug in and go mic and Core-Sound's TetraMic A format microphone. The DPA 5100 is just out and should be at NAB. By all means go and see it! If you have an interest in surround it is worth the look as we were very pleased with the sound, wind and moisture handling and ease of use on a boom plus there is no post processing of the audio for those quick post jobs. The Core-Sound TetraMic does need post audio processing
  8. No I did not compare other than on paper. Please let us know what you find. That would be interesting.
  9. Michael Our van driver on 12 Rounds was a stunt driver because we were clipping along at almost full speed of the picture cars. I am not sure we went over 55 mph because we could hang or fall back a bit and still be safe. I too was worried about the wind, but with the driving speed and in heavy weather the antennas remained as firm as our mountings. They are very well built and durable. On one show, the transportation department went out and got the roof rack made out of round tubes. The clamps did not always hold on that. Stick with the square tube or the larger rigs with a good flat surfac
  10. Bill The Comtek phase right antenna is for the Comtek headset system ... I am using the BST-25 transmitter for TV5-6. Covers the folks in the van as well on the insert car or chase camera cars so the camera operators could here the dialogue. 12 Rounds had a separate free running camera car at times and we outfitted the camera crew with snug Comteks. Boom op would wear Lectro IFB. That helical antennas up front are the video assist antennas for their rig. I run the three in the back. Two helicals for the Lectrosonics six pack in the van on the unfortunate Blocks 27 and 28. The one in the mid
  11. Wow I have had my head down wrapping up a small project with a load of post file work and surround microphones. Sorry to come into this late but glad to reply to questions. For 12 Rounds, nice to read comments from other mixers. Thank you for that and a great public thank you again to Dan Izen who did fill in for me on the dime and did a great job. To catch up on the brief .. yes it was 35mm film, 3 cameras most of the time and more some times ... and lots of lighting from the floor ... lights laying on the floor. This was a show mostly using body lav microphones with the boom taking the ai
  12. Jeff ... I would like to chime in here on the Stauffo design PWS antenna Dan Izen and Mike Michaels spoke of. In my use, they are all the things Dan wrote about. When faced last year with a job involving many moving cars and dialogue, I researched the issue of antennas with moving transmitter and receiving antennas. Helicals turned out the way to go and that brought me to web site for PWS and their kit of helicals. I rented the kit from PWS in Florida for a test. They not only worked great, but scared all the local high schools kids off the their cell phones one afternoon while we drove aro
  13. Yesterday I visited with a sound editor and saw something I would like to mention here. This person was cutting with sound from a DEVA 5 and had metadata and track assigns listed on each track that ProTools 7.2 could view. The files were renamed with a designed convention by the post supervisor with the picture department cutting on Avids. The track assigns were left as I had loaded them in on the DEVA 5. I had noticed the lack of sound logs in front of this person and asked about that. The editor said they were coming, but the picture folks had not sent them over just yet. The media had arri
  • Create New...