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About ninjafreddan

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    Hero Member
  • Birthday 02/09/1973

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    Music and my kids
  • About
    Working with ENG-sound for run and gun TV-productions and documentaries using a Sound Devices 664, TCBuddy, DPA 4017 shotgun mic and a couple of Shure UR1/UR5 wireless systems and DPA 4060 mics.

    My motto: Travel lite and work fast. :-)
  • Interested in Sound for Picture

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  1. Did you use memory cards provided by the production or your own tested memory cards? For peace of mind, I only use my own memory cards in my 664. Same thing when I use a rented 633 or 688. At the end of each day, I insert one of the production's memory cards, and copy the sound files to it. So far, I've never had a lockup. * knock on wood * Just my two cents Fred
  2. I've used the Cedar DNS 2 for conference sound, sending a head mic mix to channel 1 and a mix of lectern/table mics to channel 2 - and it has worked wonders, both to the PA sound but also to the recorded sound. I prefer to not have the Learn-function enabled because I think it creates some kind of "movement" in the ambience which makes it sound a little bit artificial. I press the Learn-button each morning and let the process tune in on the ambience noise of the venure, then I disable it again. Doing 4dB of noise reduction on the head mics, and 5dB noise reduction on the lectern mics really brings the voices more into fokus - makes me look good as a sound engineer and easily gives me more than 6dB of gain-to-feedback headroom. ๐Ÿ™‚ I'm sure the Learn-function works great if you have non-static background noises like cars driving by etc, but I prefer to keep it off. The only complaint I have so far, is the fact that it doesn't remember its last learnt "noise print" when fired up. In a conference situation, that would have been preferable. It's really a fire-and-forget kind of processing and it works great. Cheers Fred
  3. We're all in it for the art, otherwise we wouldn't be doing the hard work we do, right? As a combined Sound Recordist / Boom Operator mainly for advertising shoots, I'm fighting tooth and nail to get as good production sound as possible. And I believe that goes for most everybody in the business. That means walking around the set, making quick friends with everybody, the director, FAD, SAD, DoP, camera people, costume, lights, props, set manager, actors etc. With only one thing in mind, to be able to get as good sound as possible. Then by experience and by listening in headphones, identify all possible noise sources, and figure out a way to blimp them together with the set manager and props department. It's an everlasting job to constantly be on toe, to get the best dialogue and sound. If the booms are too far away from the action, it's because the director has decided to do multi-camera, it's not like the boom operator is lazy. If the plant mics doesn't work, it's because they couldn't be positioned closer to the action, or more often, the actors were not sticking to their marked positions. Regarding the phase issues that you will run into, trying to mix the boom sound with a couple of lavs, or just a couple of lavs close to each other. Well, it's your job to fix any phase issues or leave it for the mixer to deal with. Because, on set, all we can do is to make sure that all mics have the same phase, and that there isn't any added latency to any of the mics (like what will happen when mixing analogue and digital radio systems). Even if we could adjust the phase relation between two lavs, it would only be correct for a certain frequency range, and the phase would be altered as soon as someone starts moving about. You keep out of phase issues by bringing down the lavs that are not active, and just keep the one that's being talked into, at any given moment. But I understand that you will hear all kinds of phase issues, listening in headphones, and with all lavs open. The reason why the location mix doesn't have much phase issues, is because the production sound mixer is actively mixing the lavs and booms, by following the script. Nowadays, auto-mixing functions like Dugan might help out a bit, adding yet another level of quality, by helping the PSM to open and close lav mics - especially in unscripted situations. If you get tired of listening to phasing all day, I suggest installing the Waves Dugan plug-in, and put it on your lav channels. Regarding wild tracks, I always try to get the chance to do one or two wild tracks after a scene has been finished. I mean, it just takes five minutes to do, and it will be my chance to get closer with the boom, but most of all, be able to record the dialogue without movement and sound generating props and cloths. Some directors understand the importance of wild tracks and some don't. For those who don't, well then I have to choose my battles wisely, and only suggest or rather demand a wild track when I really really need one. Same goes for silent takes, with only the actors on camera speaking, and the rest miming. I always suggest it when I find it beneficial, some directors understand the importance of doing it, some don't. I suggest that the next time you're looking for a wild track, but can't find one, when writing to the production calling for ADR, do add "Due to the noise on the dialogue, and lack of wild track, this scene needs ADR". Maybe they will learn, maybe not... I do sound editing as well, so I understand the stacks of tracks that you have to sort through. That's why I try to keep the amount of tracks recorded in my 664 constant, so that they don't move around when you put them on the timeline. Because I'd rather have empty tracks than tracks moving around in the project. Anyway, I enjoyed listening to the podcast, and it was interesting to hear how you do your work and what's expected of you. Have a nice weekend Fred
  4. I got to play around with it this Monday, and the highest power setting was 25mW (if I remember correctly). But it's digital phase-modulation transmission, so it's much more efficient compared to 25mW of analogue FM radio transmission. The product specialist said something about an adaptive antenna design, that senses the distance to the body and compensate for the position. In what way, wasn't disclosed. Anyway, we won't know how well it works until it's been put to work at theaters on sweating actors moving around on stage. Yeah, I got a demo of the whole system, and it both sounded and worked really well. The ShowLink and frequency hopping are really useful features. The way you can stack digital transmitters close to each other in frequency really makes digital radio more future proof. Cheers Fred
  5. Off topic. Digital radio is the future. This Monday, I got a demo of the new Shure Axient Digital system and together with Wireless Workbench, it solves a lot of potential headache during big events. It sounds great, channels can be stacked next to each other much more efficient, bi-directional communication offers the possibility to change the whole frequency plan in seconds, and the system do seamless frequency hopping whenever interference is encountered. Cheers Fred
  6. You can of course choose a frequency hopping system like the Sennheiser AVX. It's working in the DECT frequency spectrum around 1.9GHz, and it essentially coexist and share the frequency band with other DECT units, like cord-free phones etcetera. It sounds great together with the Sennheiser MKE2 lavalier mic, and you won't be interfering with any other professionals in the venue. Another option is to put a small recorder on the talent, and sync the video and audio later. Regarding the fan noise coming from the RED camera, use another camera? ๐Ÿ˜‰ Good luck Fred
  7. Ah, okay, I see. Well, ASIO4ALL don't do multi-client ASIO. What you can do, is to use another soundcard (internal PC soundcard) for Basehead and send the audio to the line inputs of the USBpre2 and mix between the sources using the PRE/PC knob set to twelve o'clock. But, it's not kosher. I guess chances are small, that AVID steps up and fix their soundcard compatibility. Cheers Fred
  8. Yeah, it's 2018 and AVID still can't make its DAW play nice with soundcards using ASIO-drivers in Windows. Don't rule out ASIO4ALL before trying it properly. Of course, it would be desirable to not use it, but if it works and even AVID themselves suggest using it, then it's worth trying, me thinks. It's Pro Tools, so please put on your silk gloves before using. :-) Cheers Fred
  9. When repeatedly having pointed out to the music video director gone commercial ad director, that he needed to think about not giving directions during takes with dialogue, and the 1AD steps in and calms me down: "no worries, he will be doing the editing himself, and he loves listening to his own voice" :-)
  10. I use my USBpre2 in Windows 7 and 10. Cubase, Nuendo, Wavelab and StudioOne runs like a charm. Haven't used it with Pro Tools. Seldom fire up ProTools HD, and when I do, it's on my main studio computer. How about trying the USBpre2-drivers together with the ASIO4ALL drivers? Sometimes ASIO4ALL fixes unstable ASIO-drivers really well and will be the bridge between the DAW and the hardware. I've compared the sound-quality of USBpre2 with a bunch of soundcards and external converters, and the USBpre2 sounds great in comparison. So, it's definitely worth its price. Good luck Fred
  11. It's a very powerful tool, we used a couple of the eight-channel version of Eurovision Song Contest 2014 in Copenhagen. Even treated as much as possible, the acoustics of the venue - an old shipyard made of steel scaffolding and metal panels - very still troublesome. The Cedar noise-reduction worked wonders making the presenters microphones sound much better - both on TV and inside the venue. So for live events, the Cedar boxes are really handy. A colleague used eight-channels of Cedar noise-reduction for a TV show, and he later told me that he ended up backing it off a bit, because he were loosing the "live feeling". That's how good it works. Another colleague uses it for Sweden's Got Talent, and it helps to keep much of the audience noise out of the jury's microphones, so that no further processing is needed. It's a live-on-tape show. I haven't used the DNS2 for EFP-sound yet, but if I even do, I would probably split the boom and record both the original and the noise-reduced sound, and use channel two to noise-reduce the camera feed. But I probably wouldn't listen to it too much in my headphones, because that would probably give me false comfort. But I don't know until I have used it in the field. There are a lot of recording situation where you know that not much sound editing will be done - because it's done by a video editor. In those cases the DNS2 will be a perfect companion, but do make sure to add it to your rental fees, because otherwise you're just spoiling the production with a pretty expensive and great-sounding box. Regarding your questions, I don't think that you have to buy a DNS2 yet, as long as your clients aren't asking for it. Will it pick up in reputation? Probably. Cheers Fred
  12. Well, if no one is giving you a printed or verbal run-down, it's your job to get that information from someone on set - preferably from the first or second AD. Be talkative whenever suitable and show the team that you represent the sound department. I don't do movies, but I do dox, reality crap and advertising. In dox and reality TV you have to step up and make sure that people get miked etc, because you only get one chance to catch the dialogue. Personally I have no problems halting a situation to get proper sound - impossible mic shadows, unable to boom, technical problems, miking someone that enters a situation etc. As long as it's not a sensitive situation where the flow shouldn't be interrupted. In advertising it's different, picture is king and sound can sometimes just be something annoying to deal with for inexperienced directors. They may lack basic understanding of sound and dialogue, they can lack sound discipline and talk through the takes giving directions to the DOP, the list goes on. One way to mark you position in the team, is to always be present outside the picture frame with the boom ready. Even if they are just trying something out, you are there with the boom just to make sure that you stay out of frame. That way you are always visible to the director and the DOP. And if they say something like, "this is a high speed take, we don't need any sound", you said, "okay, no problem, I'll stick around anyway", then you try to record some sound effects or just chill. When the team prepares for a new scene, you step up to the AD and asks if anybody needs to be miked, and when the DOP is ready to rehearse you ask for a boom position, again showing your presence. In one-camera productions, you should be able to get good sound on most locations, and when you can't, you tell the AD that you will need two minutes after the scene is done to record a wild track with the dialogue with the actors in position, or at a less noisy location close by. It's your job to be pretty persistent about recording a wild track when needed. The team can spend 20 minutes adjusting lights, props and optics - all you need is two minutes after the scene is done. When there are several cameras rolling at the same time, it can be tricky to get the boom in the proper position, so make sure to tell the AD that you will need time to get everybody miked and flag for a possible wild track after the scene is done. I'm sure you're a good sound engineer, so just stay close to the director and DOP, eavesdrop on their discussions about the scene, and be quick whenever someone needs to be miked. The better recording job you do, the less people will notice. Cโ€™est la vie. Cheers Frederick
  13. I use a couple of Shure UR5 receivers in my bag along with UR1 beltpacks and DPA 4060 lav mics. Pretty good sound quality, not that far behind Wisycom and Lectrosonics having compared them side to side. Like all Shure gear, they are robust and can take a lot of level, rock solid transmission and the range is very good. Regarding Shure's digital systems, I've used the four channel Shure ULX-D receivers quite a bit for conference sound - excellent sound quality (like a straight cable if you like) and very good range. I have the belt packs set to 10mW transmission strength and it gives me excellent coverage because it's a digital carrier. I've had presenters walk out of the hotel to smoke a cigarette and still being able to eavesdrop on them in my headphones. It's also a great system when 100+ journalists enter the press brief, each and everyone swinging a wireless handheld mic, because the receiver prompts you when there's an interference on one of the four channels - sure saved my skin on one occasion when I was monitoring the four channels on headphones but missed that one of them had occasional glitches due to interference. Fingers crossed that Shure makes a portable digital receiver, but I guess that will never happen. That's not my experience having used the Shure ULX-D system, and I don't think that Axient will be any different. Either the digital carrier is received or it's not. That's the good and bad with digital. Cheers Frederick
  14. Okay, then I should be fine using a straight TC cable. Thanks for the information. :-) Cheers Frederick
  15. Good to know, that's what I'll do if my current TC cable gets in the way of the camera configuration. Still, when working with one camera productions, I prefer having the camera set to REC-RUN and automatically slave my 664 REC to the incoming TC. That's why I want a TC cable that's not in the way. Checking the prices of the angled Ambient TC cables, they are quite pricey. Ahh well... Which audio cable did you use by the way? The Remote Audio with angled LEMO? Cheers Frederick
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