Jeff Wexler

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Everything posted by Jeff Wexler

  1. NOMINATIONS FOR THE 53rd CAS AWARDS FOROUTSTANDING ACHIEVEMENT IN SOUND MIXING FOR 2016 MOTION PICTURE – LIVE ACTION Doctor Strange Production Mixer – John Midgley, CAS Re-recording Mixer – Tom Johnson Re-recording Mixer –Juan Peralta Scoring Mixer – Peter Cobbin ADR Mixer – Doc Kane, CAS Foley Mixer – Scott Curtis Hacksaw Ridge Production Mixer – Peter Grace Re-recording Mixer – Kevin O’Connell, CAS Re-recording Mixer – Andy Wright Re-recording Mixer – Robert Mackenzie Scoring Mixer – Daniel Kresco ADR Mixer – Diego Ruiz Foley Mixer – Alex Francis La La Land Production Mixer – Steven Morrow, CAS Re-recording Mixer – Andy Nelson, CAS Re-recording Mixer – Ai-Ling Lee Scoring Mixer – Nicholai Baxter ADR Mixer – David Betancourt Foley Mixer – James Ashwill Rogue One: A Star Wars Story Production Mixer – Stuart Wilson Re-recording Mixer – Christopher Scarabosio Re-recording Mixer – David Parker Scoring Mixer – Joel Iwataki ADR Mixer – Nick Kray Foley Mixer – Frank Rinella Sully Production Mixer – Jose Antonio Garcia Re-recording Mixer – John Reitz Re-recording Mixer – Tom Ozanich Scoring Mixer – Bobby Fernandez ADR Mixer – Thomas J. O’Connell Foley Mixer – James Ashwill MOTION PICTURE—ANIMATED Finding Dory Original Dialogue Mixer – Doc Kane, CAS Re-recording Mixer – Nathan Nance Re-recording Mixer – Michael Semanick, CAS Scoring Mixer – Thomas Vicari, CAS Foley Mixer – Scott Curtis Kubo and the Two Strings Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Tim Chau Re-recording Mixer – Tim LeBlanc Scoring Mixer – Nick Wollage Foley Mixer – Darrin Mann Moana Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – David Boucher Foley Mixer – Scott Curtis The Secret Life of Pets Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Gary A. Rizzo, CAS Re-recording Mixer – David Accord Scoring Mixer – Frank Wolf Foley Mixer – Jason Butler Zootopia Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – Joel Iwataki Foley Mixer – Scott Curtis MOTION PICTURE—DOCUMENTARY 13th Re-recording Mixer – Jeffrey Perkins Eat That Question: Frank Zappa in His Own Words Re-recording Mixer – Mark Fragstein Re-recording Mixer – Marvin H. Keil Re-recording Mixer – Armelle Mahé Gleason Re-recording Mixer – Mark A. Rozett, CAS Re-recording Mixer – James Scullion O.J.: Made in America Re-recording Mixer – Keith Hodne Re-recording Mixer – Eric Di Stefano The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble Production Mixer – Dimitri Tisseyre Production Mixer – Dennis Hamlin Re-recording Mixer – Peter Horner TELEVISION MOVIE or MINI-SERIES 11.22.63: The Rabbit Hole Production Mixer – John J. Thomson Re-recording Mixer – Pete Elia, CAS Re-recording Mixer – Kevin Roache, CAS ADR Mixer – Judah Getz Foley Mixer – Brett Voss, CAS Black Mirror: San Junipero Production Mixer – Adrian Bell Re-recording Mixer – Martin Jensen Foley Mixer – Philip Clements ADR Mixer – Rory de Carteret Sherlock: The Abominable Bride Production Mixer – John Mooney, CAS Re-recording Mixer – Howard Bargoroff Scoring Mixer – Nick Wollage ADR Mixer – Peter Gleaves, CAS Foley Mixer – Jamie Talbutt The Night Manager: Episode 1 Production Mixer –Aitor Berenguer Re-recording Mixer – Howard Bargroff The People v. O.J. Simpson: American Crime Story Production Mixer – John Bauman Re-recording Mixer –Joe Earle, CAS Re-recording Mixer – Doug Andham, CAS ADR Mixer – Judah Getz Foley Mixer –John Guentner TELEVISION SERIES – 1 HOUR Better Call Saul: Klick Production Mixer – Phillip W. Palmer, CAS Re-recording Mixer – Larry B. Benjamin, CAS Re-recording Mixer – Kevin Valentine ADR Mixer – Matt Hovland Foley Mixer – David Michael Torres Game of Thrones: Battle of the Bastards Production Mixer – Ronan Hill, CAS Re-recording Mixer – Onnalee Blank, CAS Re-recording Mixer – Mathew Waters, CAS ADR Mixer – Richard Dyer, CAS Foley Mixer – Brett Voss, CAS Mr. Robot: eps2.8_h1dden-pr0cess.axx Production Mixer – William Sarokin, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS ADR Mixer – Beauxregard Neylon Foley Mixer – Mike Marino Stranger Things: Episode 7 “The Bath Tub” Production Mixer – Chris Durfy, CAS Re-recording Mixer – Joe Barnett Re-recording Mixer – Adam Jenkins ADR Mixer – Judah Getz Foley Mixer – John Guentner Westworld: The Original Production Mixer – John Pritchett, CAS Re-recording Mixer – Keith Rogers, CAS Re-recording Mixer – Scott Weber ADR Mixer – Mark Kondracki Foley Mixer – Geordy Sincavage TELEVISION SERIES – 1/2 HOUR blackish: God Production Mixer – Tom N. Stasinis, CAS Re-recording Mixer – Peter J. Nusbaum, CAS Re-recording Mixer – Whitney Purple Modern Family: The Storm Production Mixer – Stephen A. Tibbo, CAS Re-recording Mixer – Dean Okrand, CAS Re-recording Mixer – Brian R. Harman, CAS Silicon Valley: Daily Active Users Production Mixer – Benjamin A. Patrick, CAS Re-recording Mixer – Elmo Ponsdomenech Re-recording Mixer – Todd Beckett Transparent: Exciting and New Production Mixer – Sam Hamer, CAS Re-recording Mixer – Andy D’addario Re-recording Mixer – Gary Gegan Veep: Congressional Ball Production Mixer – William MacPherson, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS Anthony Bourdain: Parts Unknown (Hanoi) Re-Recording Mixer — Benny Mouthon, CAS Deadliest Catch: The Widowmaker (Part 1) Re-Recording Mixer — Bob Bronow, CAS Grease Live! Production Mixer – J. Mark King Music Mixer – Biff Dawes Playback and SFX Mixer – Eric Johnston Protools Playback Music Mixer – Pablo Mungula Mars: Novo Mundo Re-Recording Mixer – Christopher Barnett, CAS Re-Recording Mixer – Roy Waldspurger Foley Mixer – Jason Butler We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World Re-Recording Mixer – Rich Cutler
  2. I have been following all of that and I still can't figure out what they're trying to say --- I know it's some sort of "art" but I don't get it. The piles and piles of VHS cassettes is getting a lot more attention these days because of the 20th anniversary of the movie. I'm just blown away by the 20 years ago part!
  3. Looks great! I have only one comment: having the drawer access on the back, if we can call it that, could be a problem. Typically, carts of this design (big wheels in back, guide wheels on the handle) are tied off an secured on the truck with this surface (the wheels) up against the wall of the truck. Tied off and secured in this manner, the drawers would be inaccessible until the cart was detached and pulled away from the wall. This may not be a problem, though, looking at the front of the cart (which appears to be a solid surface) --- maybe people would just put that front surface against the truck or trailer wall and tie it off, thus providing access to the drawers. Access to the drawers when tied off is important at call time and at wrap when the cart(s) are tied off for travel. It is possible as well that this cart is designed more for traveling in small vehicles and the whole tying it off on a truck or trailer may not even be an issue. I apologize for far too many words.
  4. The CAS Technical Achievement Award as it was in the past has been changed and enhanced to be more inclusive and representative. From the CAS website: "The Outstanding Product Awards honor products or workflows which enhance the daily lives of mixers, have become very useful in the workplace, and are becoming established as essential tools for the mixing communities (production and post-production)." CAS will be rolling out a new technical award (not for this years award) that will be more in keeping with the practices of other organizations and honor significant companies and individuals who have contributed to our industry --- this will be a special award, like our President's Award, and will not be awarded every year. As for participation in the Outstanding Product Award this year, I'm not sure we have had many submissions and those nominations are generally announced after the regular slate of nominations. Every year it has been difficult to get enough submissions, often falling short of coming up with the traditional ten nominees, five from Production, five from Post Production.
  5. Congratulations to all the sound nominees! - LINK to Cinema Audio Society NOMINATIONS FOR THE 53rd CAS AWARDS FOR OUTSTANDING ACHIEVEMENT IN SOUND MIXING FOR 2016 MOTION PICTURE – LIVE ACTION Doctor Strange Production Mixer – John Midgley, CAS Re-recording Mixer – Tom Johnson Re-recording Mixer –Juan Peralta Scoring Mixer – Peter Cobbin ADR Mixer – Doc Kane, CAS Foley Mixer – Scott Curtis Hacksaw Ridge Production Mixer – Peter Grace Re-recording Mixer – Kevin O’Connell, CAS Re-recording Mixer – Andy Wright Re-recording Mixer – Robert Mackenzie Scoring Mixer – Daniel Kresco ADR Mixer – Diego Ruiz Foley Mixer – Alex Francis La La Land Production Mixer – Steven Morrow, CAS Re-recording Mixer – Andy Nelson, CAS Re-recording Mixer – Ai-Ling Lee Scoring Mixer – Nicholai Baxter ADR Mixer – David Betancourt Foley Mixer – James Ashwill Rogue One: A Star Wars Story Production Mixer – Stuart Wilson Re-recording Mixer – Christopher Scarabosio Re-recording Mixer – David Parker Scoring Mixer – Joel Iwataki ADR Mixer – Nick Cray Foley Mixer – Frank Rinella Sully Production Mixer – Jose Antonio Garcia Re-recording Mixer – John Reitz Re-recording Mixer – Tom Ozanich Scoring Mixer – Bobby Fernandez ADR Mixer – Thomas J. O’Connell Foley Mixer – James Ashwill MOTION PICTURE—ANIMATED Finding Dory Original Dialogue Mixer – Doc Kane, CAS Re-recording Mixer – Nathan Nance Re-recording Mixer – Michael Semanick, CAS Scoring Mixer – Thomas Vicari, CAS Foley Mixer – Scott Curtis Kubo and the Two Strings Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Tim Chau Re-recording Mixer – Tim LeBlanc Scoring Mixer – Nick Wollage Foley Mixer – Darrin Mann Moana Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – David Boucher Foley Mixer – Scott Curtis The Secret Life of Pets Original Dialogue Mixer – Carlos Sotolongo Re-recording Mixer – Gary A. Rizzo, CAS Re-recording Mixer – David Accord Scoring Mixer – Frank Wolf Foley Mixer – Jason Butler Zootopia Original Dialogue Mixer – Paul McGrath Re-recording Mixer – David E. Fluhr, CAS Re-recording Mixer – Gabriel Guy, CAS Scoring Mixer – Joel Iwataki Foley Mixer – Scott Curtis MOTION PICTURE—DOCUMENTARY 13th Re-recording Mixer – Jeffrey Perkins Eat That Question: Frank Zappa in His Own Words Re-recording Mixer – Mark Fragstein Re-recording Mixer – Marvin Keil Re-recording Mixer – Armelle Mahé Gleason Production Mixer – Mark A. Rozett, CAS Re-recording Mixer – James Scullion O.J.: Made in America Re-recording Mixer – Keith Hodne Re-recording Mixer – Eric Di Stefano The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble Production Mixer – Dimitri Tisseyre Production Mixer – Dennis Hamlin Re-recording Mixer – Peter Horner TELEVISION MOVIE or MINI-SERIES 11.22.63: The Rabbit Hole Production Mixer – John J. Thomson Re-recording Mixer – Pete Elia, CAS Re-recording Mixer – Kevin Roache, CAS ADR Mixer – Judah Getz Foley Mixer – Brett Voss, CAS Black Mirror: San Junipero Production Mixer – Adrian Bell Re-recording Mixer – Martin Jensen Foley Mixer – Philip Clements ADR Mixer – Rory de Carteret Sherlock: The Abominable Bride Production Mixer – John Mooney, CAS Re-recording Mixer – Howard Bargoroff Scoring Mixer – Nick Wollage ADR Mixer – Peter Gleaves, CAS Foley Mixer – Jamie Talbutt The Night Manager: Episode 1 Production Mixer –Aitor Berenguer Re-recording Mixer – Howard Bargroff The People v. O.J. Simpson: American Crime Story Production Mixer – John Bauman Re-recording Mixer –Joe Earle, CAS Re-recording Mixer – Doug Andham, CAS ADR Mixer – Judah Getz Foley Mixer –John Guentner TELEVISION SERIES – 1 HOUR Better Call Saul: Klick Production Mixer – Phillip W. Palmer, CAS Re-recording Mixer – Larry B. Benjamin, CAS Re-recording Mixer – Kevin Valentine ADR Mixer – Matt Hovland Foley Mixer – David Michael Torres Game of Thrones: Battle of the Bastards Production Mixer – Ronan Hill, CAS Re-recording Mixer – Onnalee Blank, CAS Re-recording Mixer – Mathew Waters, CAS ADR Mixer – Richard Dyer, CAS Foley Mixer – Brett Voss, CAS Mr. Robot: eps2.8_h1dden-pr0cess.axx Production Mixer – William Sarokin, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS ADR Mixer – Beaux Nyguard Foley Mixer – Mike Marino Stranger Things: Episode 7 “The Bath Tub” Production Mixer – Chris Durfy, CAS Re-recording Mixer – Joe Barnett Re-recording Mixer – Adam Jenkins ADR Mixer – Judah Getz Foley Mixer – John Guentner Westworld: The Original Production Mixer – John Pritchett, CAS Re-recording Mixer – Keith Rogers, CAS Re-recording Mixer – Scott Weber ADR Mixer – Mark Kondracki Foley Mixer – Geordy Sincavage TELEVISION SERIES – 1/2 HOUR blackish: God Production Mixer – Tom N. Stasinis, CAS Re-recording Mixer – Peter J. Nusbaum, CAS Re-recording Mixer – Whitney Purple Modern Family: The Storm Production Mixer – Stephen A. Tibbo, CAS Re-recording Mixer – Dean Okrand, CAS Re-recording Mixer – Brian R. Harman, CAS Silicon Valley: Daily Active Users Production Mixer – Benjamin A. Patrick, CAS Re-recording Mixer – Elmo Ponsdomenech Re-recording Mixer – Todd Beckett Transparent: Exciting and New Production Mixer – Sam Hamer, CAS Re-recording Mixer – Andy D’addario Re-recording Mixer – Gary Gegan Veep: Congressional Ball Production Mixer – William MacPherson, CAS Re-recording Mixer – John W. Cook II, CAS Re-recording Mixer – Bill Freesh, CAS TELEVISION NON-FICTION, VARIETY or MUSIC SERIES or SPECIALS Anthony Bourdain: Parts Unknown (Hanoi) Re-Recording Mixer — Benny Mouthon, CAS Deadliest Catch: The Widowmaker (Part 1) Re-Recording Mixer — Bob Bronow, CAS Grease Live! Production Mixer – J. Mark King Music Mixer – Bill Dawes Playback and SFX Mixer – Eric Johnston Protools Playback Music Mixer – Pablo Mungula Mars: Novo Mundo Re-Recording Mixer – Christopher Barnett, CAS Re-Recording Mixer – Roy Waldspurger Foley Mixer – Jason Butler We Will Rise: Michelle Obama’s Mission to Educate Girls Around the World Re-Recording Mixer – Rich Cutler
  6. Thank you, JBond, and you are so right that JWSOUND and many of the other social media sites have provided a kind of interaction never before possible, and that's a good thing! I would never have been able to look at all the amazing images of hundreds of vintage Nagras and be part of all the "Nagra Stories Sound-men won’t ever tell" if it were not for the Internet.
  7. Well said, Gordon, and thank you for a clear and thorough response (which I didn't "demand" I only requested some clarification). The one thing that still puzzles me, and it does relate to false claims (probably a harsher term than I should have used) regarding what the Digital Hybrid system is or isn't. The Academy's description clearly does state that the technical achievement by Lectrosonics is "developing a method to digitally transmit full-range audio" and after reading Lectrosonics White Paper and the Patent documents, and having what I thought was a clear understanding of the system, it is not a digital transmission or a digital transmission of digital data.
  8. "Can we all just agree that both Lectrosonics and Zaxcom make excellent wireless products which both have their pro's and con's" I think everyone DOES agree that both Lectrosonics and Zaxcom make excellent wireless products, that universally held truth, however, is not what this topic thread is all about. Additionally, the fact we all do agree that both Lectrosonics and Zaxcom make excellent products should not serve to nullify the awards discussion. "Do your homework and buy whichever one suits your jobs best" I think you are confusing this current topic with another topic that was discussing which wireless to purchase. This discussion, the inequities of the Academy's awarding and the inaccurate descriptions, should NOT be used to determine what wireless and from what company one should purchase and use. There have been more than enough guidelines in the other topic thread that addresses this. "take the energy you'd normally be using to argue with strangers on the internet about this kind of stuff and try to find jobs that you can actually use your gear of choice on" Strangers? I certainly think that at least for me, the majority of people engaged in this topic (and probably most every other thing that happens on this site) are not strangers --- I don't think any of us would be discussing something like this with strangers.
  9. Yes, Jim Tanenbaum on the left and Bruce Bisenz on the right. We all used to hang out at Audio Services, not always to buy anything but often just to chat with others, look at and play with the latest new toys that might have arrived. Philip is absolutely right that Audio Services, Coffey Sound and all the other usual suspects provided for us all some very valuable experiences, face to face, interactions that are sadly missing in today's world of the Internet. It's not so much that these things don't happen anymore, it's just that those sorts of interactions are less important --- most everybody would rather just punch something into Google and get volumes of results rather than seeking out a person and having a great face to face conversation.
  10. Thank you for that, Eric, but I think it is a little off topic in this thread wouldn't you agree? I hope you're not going to try and get us to give you an award for starting the RAMPS NAB party 27 years ago.
  11. "One is deemed award worthy for a certain set of features, the other for another set of features" That would all be well and good if the feature set and function stated for Lectrosonics was accurate --- it is not. Also, the award is not typically for a laundry list of features. As far as I'm concerned, I have no problem with the Academy honoring the fine products from Lectrosonics for whatever level of technical achievement, I do have a problem, however, with false claims. What I believe would have been fair and would represent what I thought the Academy Award was all about would be for Zaxcom to have been awarded the Scientific and Engineering award for pure digital wireless, on board digital recording, full wireless remote control, and for Lectrosonics to have been awarded the Technical Achievement Award for an improved DSP controlled compander.
  12. Mirror, you are one person, a person with an opinion, a preference. The Academy committee is supposed to arrive at those things which are worthy of the award, not just things which they happen to like. With what you've said, when looking at hamburgers, the Academy should give an award to both Burger King and McDonalds because they both make hamburgers that people like. Also, "..with all due respect" refers to what? Respect for me, respect for Donavan, respect for the Academy? I think the Academy committee also screwed up in their descriptions of what is being awarded. I would love to hear from someone at Lectrosonics if it was Lectrosonics that wrote the description and the Academy just did a copy-paste and edit. There are a few statements which I think are not factual: "developing a method to digitally transmit" is one of them. I'm pretty sure the "digital" part of Lectrosonics "Digital Hybrid" does not "digitally transmit" anything --- the RF transmission is standard analog FM transmitting an analog signal that has been processed digitally by the transmitter. This is not digital transmission. Quoting from Lectrosonics' patent: "Various methods and systems disclosed companded audio signals using signal prediction, followed by expansion and reconstruction" it is quite clear that what Lectrosonics has accomplished is a better compander. Also, the claim that it is the Lectrosonics system that provided the benefit of "reducing transmitter size, and increasing power efficiency" is ridiculous. Again, I would like someone from Lectrosonics to explain, technically, how transmitter size and power consumption are affected by the use of this technology for which it is being honored. Lectrosonics "Digital Hybrid" system has been around for quite a long time and we have only seen real reduction in transmitter size in the last year or so. As for power consumption or efficiency, this is compared to what? Compared to what Lectro's transmitters power consumption was prior to adopting the digital hybrid system 10 years ago? Who knows what they're talking about here.
  13. Those are all old (wonderful) pictures from the Audio Services days. I don't think any of our usual places are servicing Nagras anymore and there probably is very little call for that sort of service. I imagine any of our favorite service facilities could do Nagra service if it is needed.
  14. Wonderful post, Jan! I love getting the direct insight into your process on "Zelda", having followed the challenges you were faced with during that show. I am also always pleased when there is communication between production and post that is detailed and thoughtful to the point that both parties can learn and grow.
  15. Mounting scheme looks good, Jan. I did mine based on Billy Sarokin's configuration: corner (angled) antenna and L-Com amp mounted vertically. Works well but doesn't protect the connectors in any way. I like the shape of the RF Venue antenna and I hadn't seen anyone use it with the big amp --- some people have reported that the RF Venue antenna used passively doesn't work so well (but that's probably the case with ANY of the 2.4 ghz systems). I have always used Zaxnet with a full antenna and the big amp so it has always worked well.
  16. Thank you Helmut for your post --- very clear explanation directly from the source! Beyond all the numbers, the science, what really nails it for me is your statement: "It has always been more a theoretic issue, no practical user identified it as a problem" --- I'm into all the theory, of course, but I'm also aware that the most important thing is the sound --- the art of critical listening and creative use of all these amazing tools is what matters.
  17. Well, he may have seen some of the other posts in the past which were subsequently removed because they violated the guidelines. Announcing a new product and a link to a company's website is okay. Putting up a post with a full page graphic and a coupon for discounts is not okay --- that's an advertisement and a promotion. You have to know that the guidelines changed a few years ago when I first offered PAID advertising on the site. I had operated since starting in 2006 without any advertising but amazingly generous and ongoing support came from donations by our members. A few years ago when I started providing ad banner space, several companies came on board and found the popularity of the site beneficial for their advertising and promotions. There were a few companies that had banner space for awhile but then after not renewing their ads they just started putting up full ads, for free, as normal discussion posts. I had to put a stop to this as I owed it the paying clients to not allow these freebies.
  18. I think Karl forgot to read the guidelines for posting in the Manufacturers and Dealers section on the site. Rules & Guidelines The Manufacturers & Dealers section should not be used for advertising or promotions but may be used by all the "usual suspects" for information and announcements for events, seminars and things like that. Just use your good judgement and be respectful of the core purpose of this Discussion Group. Premium Ad Space is now available for those who wish to have advertising displayed on the site.
  19. To Werner: how many times are you going to tell us that you are pleased with your decision to stick with what you know (for your team, your "unit") and everyone should really think about their individual needs, etc., etc. "I honestly have a hard time understanding why it seems anything but plausible that the features offered by Zaxcom do not matter all that much to some when compared to the tried and true performance of what is a known entity." Although you say you are not dissing or dismissing Zaxcom, this statement pits "features offered by Zaxcom up against "tried and true performance" implies that going with Zaxcom somehow puts you in un-chartered waters. Well, you have said over and over again that YOU don't want to go there.
  20. "Paying more for gear ( a transmitter lets say) that is NEW, and has many features that may not be necessary (key word Necessary) (TRXFB3 for example) such as timecode, IFB option, zaxnet , power changing ability on its own... on and on.. for @ $500 more a unit over lets say a SMQv is an example..." It's already been said that one should not purchase anything, regardless of cost, without first assessing what exactly you need for the jobs you are doing. "I dont mind dweedling a transmitter off with a phone app... I have never had any talent say anything but.."wow cool".. It HAS a volume so as not to affect other transmitters... and regretfully, Someone must actually walk over to do it.. I have not needed to record on a transmitter... yet... I have not needed to change the gain on the fly.. I set the transmitter correctly , allow for headroom and trust my Transmitter limiter to do its job when needed... If I need to crank up a take that is different, I do it... then adjust the next take... (same phone app)... If I need to sleep the trans... same phone app..." All you are saying above is that you are happy with your Lectro wireless as are hundreds of other sound mixers... I don't see the point. We all know that Zaxcom wireless accomplishes these same tasks differently. For me personally, and obviously, I prefer to accomplish these things in the manner that Zaxcom has implemented and I didn't mind paying a little extra for those features and functions. "These are all luxuries that I for one can do without... for now... later who knows" I don't consider the features and functions of Zaxcom wireless a luxury, I consider these things as vital to the work that I do on the movies that I do and would not want to "do without" --- but that's just me and fortunately I have always been able to make decent equipment rental deals to be able to afford the gear that I use. "as long as I need funds for family and life, and do my best to make money rather than spend constantly on gear, I will continue to call those luxury do dads I don't want to spend @$500 a unit more for... No insult to anybody, or any company... just a thought on whats necessary for us, and how much money we need to spend to get the job done well in an environment of changing equipment rate downward pressure." I have always had to weigh up and balance my purchases just as everyone else has to. One difference, for me, has been that I selfishly have never been able to deny myself something new and innovative that has the very real possibility for me to do a better job, to contribute to a project the best sound. I have made purchases where I know that the weekly equipment rental is not going to even get close to paying it off on the movie, but I know that it will be paid off at some point, maybe half way through the next job. I do need to point out that you state "what's necessary for us" without defining who this "us" is. You may just be re-stating, again, what has been said before: buy the equipment you can afford and that can get the job done to your satisfaction --- and that's exactly what I do (though I think I should not be included in the "us" you mention). "If our rates on gear was going up... by a bunch... I get it... spend away... if not... thinking about needs and not wants is prudent." Rental rates are terrible and have been in decline for years... I hate that. Unfortunately, sound mixers who take a lot of these jobs and accept the ridiculous rates per day all in are part of the problem not part of the solution.
  21. To AFMY: Your advice echoes what several people have been saying, buy and use what works for YOU with the features and functions you need. If you can get by with a used G2, that's what you should get. I do have to ask you, AFMY, where have you seen in this thread anyone talking about spending "countless thousands of hard earned dollars on luxury do dads and bells and whistles" ? I think this is a condescending and ingenuous statement and does not contribute anything productive in regards to the original poster's question about purchasing gear. I would think that anyone here who is a working professional sound mixer knows the difference between "luxury do dads and bells and whistles" and real features and functions with any piece of professional gear. For me personally, I have never come across any equipment I would be using professionally for work that has any "luxury do dads" or "bells and whistles". Actually, I do have to correct myself: the Bell & Light system I built DOES have a bell...
  22. "well seasoned and well trained actors" is the key phrase here.
  23. Sorry, Martin, I wrongly assumed that you were saying just the opposite --- when there is money and time, you might see cabled boom mic, but on lower budget and time critical, it will be a wireless boom. I still think you need to clarify your "$10,000 budget" scenario because I'm fairly sure that with that sort of budget there will not even be a boom operator --- most likely there will be one sound person with a bag (if they can even afford a bag) with one boom mic on a short fishpole plugged into a Zoom recorder. All the rest of the sound will be gotten with the mic on the camera. I'm being a bit facetious but it does point out the difficulties in having to communicate with eachother by writing stuff here on JWSOUND that gets mis-construed and mis-understood. What Tony said about the ubiquity of wireless boom on sets these days still stands in my book.
  24. Not a correct assumption, Martin. Tony has worked on every kind of job, low budget, high budget, short schedule, long schedule... it is the style of shooting, the specific project and it's demands that will dictate the necessity of wireless boom. More could be said about this, obviously, but I did want to correct your conclusion regarding budget, etc.
  25. Only one Zaxnet transmitter in use (at this time it is the IFB200 but I have an older IFB100 if for some reason I need a separate unit or a backup. The phenomenon you mention while booming, hearing the real time sound (leakage from headphones that are not adequately sealed) and the IFB sound, this could be disconcerting. Reminds me of the caution that I had to tell people about way back in the beginning with the first digital gear we were using: people would try and test out how a microphone sounded into a transmitter with latency (any transmitter or digital device that has processor induced latency) and they would put on headphones and use their own voice --- the result, of course, was that every microphone sounded hollow, phasey or just plain odd! I had people come back to me and tell me it sounds awful, how can you ever use that! Then, going back and testing the same setup but listening to someone else's voice pretty much solved the problem.