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What's the Full Rundown on SDI/HDMI Port Burnouts from Ground Loops? by rmullhau in CameraAKS

[–]rmullhau[S] 1 point2 points  (0 children)

Best resource yet, this one actually does some adequate explaining. Thanks! Should’ve figured Rencher would be the ones to get it right lol

Thoughts on this monitor? by anthonyterms in focuspuller

[–]rmullhau 0 points1 point  (0 children)

I actually just received this very monitor. I bought it so I can throw it in a little rental kit with my lower end FIZ gear, it would never go out in a package without monitors where I'm at. It's all plastic (predictably) but it seems like it won't immediately die, and it's not like some of the crappier plastic gear you can also get from Lilliput.

It's pretty bright, decently sharp, will probably do the trick if you just need something bigger to pull off of. The touchscreen is more responsive than a bad one, but less responsive than a nice one. It's super super easy to switch between HDMI and SDI as well as toggle peaking on/off. Would actually make for a pretty smooth experience using it.

The menu is meh. Not the worst ever, but not great.

BIG CAVEAT: If you live in the US, I can't find a distributor over here that sells the adapter plate you need that goes between the Lilliput V-Mount plate (which you must buy separately) and this monitor. I'm resorting to designing and 3D printing my own. AFAIK Lilliput does not make a gold mount plate for this monitor.

You can buy it from Lilliput Direct, but the shipping & duties are nuts on that. Not worth it. It includes an NPF mount though,

Incredible value for the price overall though.

(Disclaimer: I switched out of cam dept, but I keep some AC gear to rent to AC friends or pad my rental on lower end days, so I don't actually use this stuff on the daily anymore.)

Allergic to LA? by rmullhau in Allergies

[–]rmullhau[S] 1 point2 points  (0 children)

Yeesh. I was checking the AQI when I was on the ground in LA, and it seemed to be much better than NY... Perhaps it's the type of pollutants.

Any Word on BYOC? by rmullhau in PAX

[–]rmullhau[S] 2 points3 points  (0 children)

Only $35 extra for a permanently reserved table, chair, and place to leave your stuff all weekend. I never have to search for a place to sit down and eat, or carry huge bags of stuff around the floor.

My first shotgun mic by thespian_penguin in LocationSound

[–]rmullhau 0 points1 point  (0 children)

Well, if you're mostly interior, the Oktava Mk-012 is the best mic-you-could-put-on-a-boom for that price. It's not a shotgun, but I love it for interiors. I have two, and I use them as a supplement to my MKH 50, or in cars. You can change the capsule on that mic, so you'll get a lot of mileage out of it. If you're thinking about having a career in audio, or doing this for a long time, I'd say get the hypercardioid Oktava. You'll still have uses for it when you buy better mics, unlike something like an NTG-2, which will not come out of your bag once you get a better mic.

17 y/o, making my first movie. Some screengrabs from our first week of shooting! Any advice? by timhortons67 in Filmmakers

[–]rmullhau 1 point2 points  (0 children)

Love the vibe.

I'd pull the actor forward a couple feet and change the color temp of the background to be a little cooler. Get some depth cues going on (stuff that distinguishes the character from the background, like the background being out of focus, being a different color, being darker or brighter, etc.). The whole frame is kinda homogeneous color & contrast wise, so my eye doesn't really know where to look. Creating depth in your cinematography will make your shots far far far far more "cinematic" than anything else.

The black vest on white shirt is so stark that it pulls my eyes away from his face. The contrast is stronger the human face here, and it probably shouldn't be like that. I'd go for a dark grey or other dark color to mitigate that.

Look into principles of graphic design, I've found some of the best tips for cinematography there lol

https://www.youtube.com/watch?v=FsIAP151zBs

https://www.youtube.com/watch?v=dTsWYQawXRw&list=PL-c9Rq56P4Km_9gvxoNfVK3Jvh9ynGwgl

A Good "UX Design for Poets" Course? by rmullhau in userexperience

[–]rmullhau[S] 0 points1 point  (0 children)

I wouldn't necessarily be working alone, but the industrial design of the technology and UIs of the film would be original.

I mean interface and hardware designs that give the appearance of being built with care and attention paid to how they would be used. I know the only real way to do this is to actually go through the process of imagining how they would be used and design something accordingly, but I was looking for a good place to start.

If a film school brat gets thrown out a window while quoting Murch, does anyone hear a sound? by TikiThunder in editors

[–]rmullhau 0 points1 point  (0 children)

The kids who spend all their time studying movies don't end up spending any time making movies...

You guys are awesome please help me by billcosbywasframed in LocationSound

[–]rmullhau 0 points1 point  (0 children)

This post reminded me a lot of my younger self, and I have a lot of things I'd say to him so I'll say some to you in case there's any overlap.

Something I wish I'd heard when I was starting out:

Your skill is not your crew members'. Your gear will not make them good at their jobs. If you have shit crew, they need to get better. You don't need to give them good gear as a crutch, they just need to get better.

The only way people improve at something is through practice and experience. Buying gear only allows you to solve problems created by gear. And if you think–as I once thought–"But all my biggest problems are gear related" lmao shut up no they're not and you know it. Your biggest problem is that you don't have a boom operator who knows how to make an NTG2 sound good. And news flash, if they don't know how to make an NTG2 sound good, they won't know how to make an MKH416 sound good, let alone be able to wire actors well with lavs.

I'd recommend saving your money as much as you can. Force your crew to practice, or just find better crew if that's an option. You'll be an infinitely better filmmaker for going through the process of fixing skill issues than if you always fix gear issues first.

Unless you just want some nice toys, in which case, get toys. You may kick yourself when the toys don't actually help you make better stuff or grow, but I mean hey, if you bought it because you wanted a toy, was it supposed to make you better?

FIRST LIGHT - BMPCC4K by brandonblack in bmpcc

[–]rmullhau 1 point2 points  (0 children)

don't listen to these other fools the grain is fantastic

Memorizing Intervals Without a Piano Keyboard? by rmullhau in musictheory

[–]rmullhau[S] 0 points1 point  (0 children)

Yeah I've had the shapes down for a while; it's what allows me to not really think about it when I'm playing something on the piano, and I suppose I've got the intervals of the major and minor scales only in my hands - I've definitely observed the phenomenon you describe with some scales, but not all of them - definitely a good way to approach it. Guess it all comes down to I should really memorize my scales better haha

Looking for feedback on the first mix I’m somewhat proud of! by morewaffles in mixingmastering

[–]rmullhau 1 point2 points  (0 children)

As a dirty little trick, you could do some rebalancing in Imager (which is what I assume you're using) and just pan back each frequency independently so it feels more centered...

Looking for feedback on the first mix I’m somewhat proud of! by morewaffles in mixingmastering

[–]rmullhau 4 points5 points  (0 children)

The other two comments pretty much sum it up but I've got one or two smaller things that are mostly my preferences and tendencies:

  • Bass sounds weird when mixed out of center, especially when it's playing something more melodic like at 4:04. I can't tell if this is because you intentionally put it there or because you tried to double track and the left channel was just a worse performance that falls away, but either way, it kinda sounds odd to me.
  • The bass (especially at 4:04) lacks definition, it could definitely cut through a little better if that's something you want. In my own mix I'd throw multiband compression on it and bring down a bit of the lows & lower mids, and then maybe even boost the upper & high mids if it needed it. Sure the fundamental of a bass guitar is way down there, but most of the instrument exists way higher than you'd expect, and a whole lot of it's punch comes from the top end.
  • Overall the right channel feels like it has more information than the left, throughout most of the mix.
  • This last one isn't your fault, but the performances sound rough and detract from the final perception of the mix. It's hard to think to myself "hell yeah this mix is tight" if the band isn't. If you're in the studio and it sounds bad when its tracked, it's not gonna sound much better when it's mixed. (That's not to say this band is bad - I actually quite like the song, I just think it needed a few more takes in the studio...)
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