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referencetone

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About referencetone

  • Birthday 01/01/1

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  • Location
    NYC
  • About
    Sound mixer
  • Interested in Sound for Picture
    Yes

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  1. Just ran into this problem today. Alexa 35 accepted timecode from my Betso box yesterday, but today it apparently took several tries before it accepted it. ”Connected time code signal cannot be used for time code tuning. (#90)”
  2. Hey Dave, Just came across this comment, sorry to be so late. Thanks for the kind words. I was the production mixer for it, and a fantastic guy named Jon D'Uva did the live music recording and playback. That Phoenix song was indeed a live performance. Jon and I essentially combined all of our gear together so we could transition seamlessly from dialogue to music and back again, usually in the same shot. If you're ever in the NYC area and need a live sound engineer, he is the man to look for. It was a blast, although stressful and challenging, and if i remember correctly we did the whole thing in just 4 days. cheers, Griffin Richardson
  3. what passes for a "soundstage" in new york these days is a joke. ever since the tax incentive sweepstakes ramped up business in nyc, there have been a bunch of new stages. for the most part, they're not even remotely sound-proofed, the A/C either doesn't work or is ridiculously loud, and overall they're ill-equipped for this kind of work. it's beyond frustrating to try and record sound in a drafty warehouse next to a construction site. apologies for the rant, just needed to vent a little. g
  4. Rates for kit, and expectations for kit, vary from job to job and producer to producer. I'll use the same basic gear for a Tier 2 movie as I will for a network TV show, but common sense dictates that the rates won't match. The main difference in rate has usually been my relationship to the producers and the size of the job. My basic kit consists of 2 recorders, 6 wires, 2 slates. I carry around 15 Comteks. I also have 2 Lockit boxes, which are subject to addiional negotiations depending on the job. Usually camera provides their own, I just like having everything covered in case of emergency. Playback, earwigs, etc. are a separate rental and are also subject to the utility getting a rate bump if he/she acts as playback operator, even if only for one shot. If the scene is more complicated, we bring in a separate and specific playback operator with their own equipment. I've noticed that NY mixers (i'm one of them) get much better rental rates then LA mixers on average, which makes no sense to me. Maybe we're getting extra due to the hazard of having next to no decent soundstages in this whole damn city. -griffin
  5. solution: the camera people have to run 2 more cables to set so i can get my monitor feed off the portable screens that our 1st AC's use. i've been lucky that i work with a great group of camera people, who are willing to help me out with this.
  6. hello all, bear with me, as this one is a little complicated. problem on my newest show: the downconverted signal from video village is not showing me the full frame. its overscanned, and i can't see the true frame lines for my boom ops. the DIT does not take the 'monitor feed' (as he calls it) from the camera, he takes the HD image. translation: no hash marks, no frame lines, no visible safety. he says that this 'monitor' feed makes his job somewhat useless, as it isn't a proper representation of the image or the colors, etc etc. he's a good guy and a smart guy so i'm taking him at his word there. but i'm also trying to formulate an argument that would change his mind.... anyway, he sends that to video village and it gets downconverted and sent to me. but in the downconversion i'm being sent an incomplete frame. it somehow zooms in a bit and i get a cropped image. we tried running this same feed to another SD monitor, just to check, and the problem was there as well. we're currently using the blackmagic mini converters, so i'm making them get a Decimator and see if that clears up the problem. and i use the Delvcam RCLCD, the double rackmount monitor. never had this problem with those monitors on any other job. its baffling to me that a HD downconverter would reduce the visible image, but that may be what i'm up against. has anyone encountered this before? thanks in advance. i'm much more of a reader than a participant on this board, but its been an invaluable resource to me over the years... griffin
  7. hell of a way to start a long show.... luckily i have an excellent post person in steve borne, who is already working on filtering options. if anything gets better i'll report back. g
  8. hey everyone, just started a new job with the F55 camera, and noticed a fan noise coming from the camera. its inconsistent, but very noticeable. especially on a quiet scene in a small room. production sent out an email to Panavision, who rented us the camera. this was their reponse. "The cooling fan noise heard on the F55 is coming from the RAW recording module on the back of the camera. The internal fans in the camera do turn off when recording however because of the heat generated during data transfer from the RAW recorder to the AXSM card the internal fan in the RAW module cannot fully turn off during recording. It does run at the slowest speed necessary to keep the cards cool enough to maintain reliability. Panavision brought this to Sony’s attention during our testing of the camera, Sony has identified our reported problem and is working on a solution. The solution will most likely be a quitter, slower, higher volume fan but unfortunately at this current time Sony has not released anything to help mitigated the fan sound issue. We are working with Sony every day to help reach a solution as quickly as possible. As soon as something is released we will be onset right away to install an update and hopefully correct this issue beyond your expectations. just a heads up for everyone out there... griffin
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