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    I'm based in Brooklyn and I've been recording sound for film and television for over 30 years. I used to split my time between features and documentaries but now it seems like I'm doing exclusively docs.
  • Interested in Sound for Picture

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  1. https://www.newyorker.com/culture/cultural-comment/a-century-of-shrill-how-bias-in-technology-has-hurt-womens-voices I'm just passing on this article from today's New Yorker
  2. I just saw the announcement from Gotham Sound of the availability Deity Connect Wireless System in April. The price is certainly right. Any idea where these may fit on the spectrum from consumer to professional equipment?
  3. https://www.nytimes.com/2019/01/04/science/sonic-attack-cuba-crickets.html
  4. Thanks. I was looking for an "easier" and more compact way without giving up control...Guess I was dreaming.
  5. Last week I did a documentary job where the production required a simultaneous translation into English, of three subjects speaking Korean in both interview and verite situations. Obviously, the translator needed to hear the Korean. The director, producer and cameraperson had to hear the translator's English translation. In addition, the production wanted (if possible) a scratch track for editing. I set up a system, one that I've used many times in the past, sending the translator, who was in another room, a mixed track of the 3 subjects from my SD633 via an old lectro 195 wireless with a headphone jack. I had her speak (softly) into a wireless which I sent to a free iso track on my SD633 and output that sound as an iso to a comtek transmitter. I provided comteks for the 3 people that needed to hear the English translation. Obviously, this system is cumbersome, complicated, and not very elegant, but it does work. As I was wrangling equipment and changing batteries it occurred to me that in the age of Blue Tooth, small digital consumer devices,cell phone, etc. there must be an easier way. I'd like to hear how others have solved this problem. Thanks, Judy
  6. I have a job with a DVX 200 tomorrow. The only other time I worked with this camera, I couldn't get it to read my timecode sent via my sync box. I just read some old posts that said that the camera will not work with tentacle sync or other sync boxes. Is that still the case?
  7. I definitely have a broken lyre. I was using it with my DPA 4017B and heard a rattle. I had no idea it was supposed to be "indestructible" so I bought a new one. I'm not sure when it happened but I'm pretty sure it wasn't under extreme conditions. It broke in the same place as the one in the photograph.
  8. http://www.nytimes.com/2016/09/30/theater/the-encounter-review. I'm recommending Broadway Show "The Encounter" which you can "see" with your eyes closed, through headphones. The sound design is multi-layered, complex and amazing. I'll see it again because it took me an hour to get beyond the "how'd they ever do that?" and "where is that sound coming from?" factors and to just relax and enjoy the play. It's very good storytelling, technically seamless and ultimately probes questions of the nature of reality, time, etc. It's also fun.
  9. I figured that out last time, a little late. Lesson learned.
  10. Thanks. That's what I used to do on features, indicating it on the slate but this is a lot less "controlled."
  11. Thanks to both of you. I'm not changing back and forth, especially since the slo mo vs normal speed switch is spontaneous and arbitrary...
  12. I was on a doc with an Amira a few weeks ago and the cameraperson spent a lot of time shooting slo-mo. The camera said "Sound Disabled" and I was assuming that these were "B roll" type shots. I still boomed them but in a more "relaxed" manner, not reaching for every word, etc. We're doing the same kind of shoot tomorrow and the director informed me that they want the option of speeding slo-mo shots up to 24 fps and syching the sound to my card. I'm going into the camera via camera hop and recording on my 633. It's no problem for me to boom everything in my usual diligent manner, but is it possible for them to sync this sound and is it common practice to have the option to speed up slo motion shots? Thanks, Judy
  13. Thanks again for all the feedback. Basically, I've been advising production all along of these problems and making it sound even worse than you've all been making the situation sound. They are duly advised by me in person and in writing (a friendly email to the second soundperson advising her of the problems with the director and producer cc'd). It's part of a long documentary shoot and all of this material could wind up being B-Roll with voice over, etc. but seems like a huge waste of a 4 day shoot. Tomorrow is Day 1 of this part of the shoot and maybe things will change when they "see" what I've been saying all along. P.S. The photographer will be wired and she in fact may be more cooperative when she actually sees the problem on the day. P.S. It certainly does not help that every time I bring up these issues, the DP says, proudly, "I'm from a narrative background. I know nothing about sound." I want to teach a workshop, "Sound for Camera people." I have trained the DP I work with most to wear headphones and it has made a world of difference, not only in the production sound but in her shooting and in the content of the material that we deliver.
  14. Thanks for all the suggestions and "answers." Production just told me that earpieces of any kind are definitely out. They said that the still photographer will work closely with us but I'm not sure anyone knows what that means. I am definitely checking out sound baffles. Thanks again, Judy
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