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Daniel Ignacio

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About Daniel Ignacio

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  • Location
    Michigan, US
  • Interests
    Music, music, music. Sometimes even movies.
  • Interested in Sound for Picture
  • About
    Production sound mixer and boom operator.
  1. Production Mix Structure

    Really cool to hear about ambient booming, Mike. Another technique in my toolbox.
  2. How to hide a Sennheiser ME 2 on talent

    Eh, I’ll give it a shot anyway. I doubt this guy cares but I’m just trying to CYA at this point, making sure he knows that he’s getting this kind of sound out of this mic. Oh, I don’t doubt that at all. I’ve had tractors, hunters’ gunfire, and fireworks at some of the rural locations I’ve done, as well as the inescapable problem of airplanes. But there tends to be less noise in my experience.
  3. How to hide a Sennheiser ME 2 on talent

    Again, we do not have a wardrobe department, though I’ll ask the director specifically what he’s having talent wear to set. The script does provide clues, and I was fortunately invited to the table read where they gave some detail about the kind of wardrobe they want. But there remain some unknowns, especially with women talent who may or may not be wearing dresses. Locations were unfortunately locked before they hired me, but we’re in a rural area – lesser chance for environmental noise. I hear that the bigger the crew, you’re less likely to know people in other departments, and so I definitely take advantage of smaller crews by getting to know everyone. You’re not an ass, you’ve been really helpful! The first/previous time I worked with a wardrobe department, they started a feud with my sound mixer. It was awful. I was hoping to hear about more helpful wardrobe departments, but it is what it is! I’ll get the director to send me photos. I’m not expecting great turnout if he has to ask talent to photograph their outfits for sound department (we’re a week away from the shoot), but hopefully they’ve already sent him photos. — Only seven more days, and crew meeting is happening between now and the shoot next Saturday, which is my last chance to persuade the director to rent a lav. It’s doubtful that any rental would arrive by the first shooting day, but the director hasn’t made himself available until now to allow me to demonstrate the ME 2’s shortcomings. Just found a rubber mount for the ME 2 made by LMC Sound. I’m buying one – I don’t expect it to solve all issues with such a sub-par mic, but at least it’ll have satisfied my curiosity and save some moleskin.
  4. How to hide a Sennheiser ME 2 on talent

    Thanks for the guidance, Mike. I’m hoping to demonstrate to the director how his mic is not suitable at our upcoming meeting, and ask him about if he has budget/time for ADR. If that doesn’t convince him to rent a lav, I’ll tell him that I will need more coverage for the boom, and that I’ll opt not to roll the lav track when problematic. And if he still wants me rolling the lav all the time, then I might just show up to set with a rented COS-11. I wholeheartedly agree with protecting my reputation, but at the same time, I don’t want to make it seem easy to get a lav out of me without some consideration and/or compensation beforehand.
  5. How to hide a Sennheiser ME 2 on talent

    Yeah, I’m… not going to do that, haha. The closest I’ll ever get to passive-agressiveness is asking the director if he has budget for looping. We have no wardrobe department, my similarly-named friend. A low-budget shoot, so I won’t be seeing outfits until Day 1. Camera department is one DP, and he’s the director’s friend. Though he seems nice enough that I can get him to fight for more coverage for me.
  6. How to hide a Sennheiser ME 2 on talent

    Noted. The G3 isn’t mine, and trust me if it was, I would’ve had a COS-11 shipped with it. The director says he loves using the ME 2 for his corporate videography, but he does need to know that it’s awful for everything else.
  7. How to hide a Sennheiser ME 2 on talent

    Really well put. I’ll bring up these exact points to the director. Thank you. I know, it’s an awful conundrum! I do hesitate on spending my own money for lavs because, while the pay is pretty good for an ultra-low budget, it’s not that good. On the other hand, I may have a returning client here. I’m weighing my options on whether it’s worth it.
  8. How to hide a Sennheiser ME 2 on talent

    I have not, but I’ll test it.
  9. How to hide a Sennheiser ME 2 on talent

    The production seems quite low-budget – we’re shooting on the director’s mirrorless hybrid/stills camera, with 90% non-union people. I just hope I don’t arrive to set to see that they did a “last minute” change to a fully-kitted RED, while I’m stuck with only one ME 2. I would be so disappointed. I’ve been trying to make it absolutely clear to the director that he will not get great sound with this lav, and that I need more time to rig it. The pay is fair (surprisingly so, if I might add!), but thanks for the concern.
  10. How to hide a Sennheiser ME 2 on talent

    Could you explain what you mean by this? I’m going to try with my Rycote Overcovers, hopefully they will be of use. Noted on the higher output levels, I haven’t noticed that. I have a spare pack of Sugru, actually! Great idea. — I’m not optimistic about how this mic will perform, but thanks for the ideas, all. Please do keep ’em coming.
  11. How to hide a Sennheiser ME 2 on talent

    I’ve done that, yes. Last time using it was on a bright polo shirt, and it still showed through the placket and everywhere else on the shirt. I ended up having to put it under the collar. It looks like this shoot may involve slightly heavier clothing, but a lot more movement.
  12. Yes, that lav, the one that comes with the Sennheiser ew100 G3. My kit doesn’t have any lavs yet, and the production I’m mixing for is unwilling to rent better lavs. While I get to boom with an MKH 8060, we only have one ew100 G3 system and the ME 2 that comes with it. I’ve had no luck wiring with the bulky ME 2 capsule in the past, since it often visibly protrudes through clothing, and the weight makes it more likely to slip out of tape. I’m thinking of using a substantial moleskin sandwich this time around, but beyond that, it’s all guesswork for me. Does anyone have suggestions for hiding it? Thanks!
  13. Cabled boom poles: Cable exit versus fixed connector

    Everyone has good points! Thanks, all.
  14. Cabled boom poles: Cable exit versus fixed connector

    I knew this, but I’m wondering what booming preferences would make someone go with a side cable exit, rather than a side XLR connector.
  15. I’m relaxing by window-shopping for boom poles today, and I stopped by Ambient’s site. After watching their rather amazing Quickpole product video, I noticed that they offer an interesting flow-through, side exit option for their cabled poles. Here’s a coiled-cabled QXS with that option: The only cabled poles I’ve used so far have all had built-in male XLR connectors, so it led me to wonder: What advantages would a cable exit offer over a fixed connector?