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Gerard-NYNY

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About Gerard-NYNY

  • Rank
    Hero Member
  • Birthday 04/24/1960

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  • Location
    New York City
  • About
    I'm not bossy, I just have better ideas.

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2,614 profile views
  1. 70's Commercials

    Ahhh one of my all time faves!! A classic.
  2. 70's Commercials

    Awwwe man don't punk out me now lol.
  3. Which Schoeps mics for documentaries?

    Sure it will be prettier, the cmit5u has a warm sound to it without adding 'character' to it. However, the off axis rejection is worth thousands to me because the off axis sounds are attenuated and do not sound weird of unnatural. It's amazing how much ambient noise is reduced directly behind the mic. You can get the shot and move on, rather than talking/explaining to the producer about too much tractor noise and getting into a new realm of discussion (based on his near zero iq about mics and sound) because he cannot bear to line up a shot elsewhere or he believes that breaking out 2 or 3 omnidirectional lavs for what was supposed to be a quick shot will make it all better.
  4. Boom mic on a stand and clamp near the PA speaker on one channel, house feed on the other.
  5. Headphone

    Buy and try based on the usual faves that have been indicated in the many discussions here and elsewhere. Sometimes you get it right, other times you don't and then you sell and try something else.
  6. Bohemian Rhapsody Played by 100+ year old fairground organ

    Player pipe organs and the like were the first multitrack machines!!
  7. Field Recording Equipment Case

    Add in a new EDC bag and go town. Good for doodads and whatnot when you walk away from the car or crew base camp. Is one EDC bag ever enough? There isn't a "Yes" answer to the above rhetorical question.
  8. Field Recording Equipment Case

    Is having one case ever enough? No. Yes if it's a decent sized PortaBrace like the Larry Bag.
  9. RIP LOON

    Ouch what a shame. I love my Loon pole and found Don's customer support/answer on a stupid modding question to be rapid and earnest. RIP Don.
  10. filming in a suana

    fake it. set off a piece of smoke cookie to simulate steam and spritz the talent with a sprayer bottle of water.
  11. Sure for TV entertainment the Donohue thing makes for good production value. In Donohue it's practically the whole program. The Q&A section at conferences are are generally short, at closing, and you would want the mic and stand in a place where you can shoot it. Additionally, the lag time between the answer and the next question is shortened; thus no dead time getting the wireless to the next questioner. I have seen instances where an inexperienced Joe or Jane Schmoe type person was handed the duty of getting the wireless stick mic to the next questioner, but they could not see where the next questioner was in the audience pit, nor discriminate where the voice that was trying to get their attention was coming from.
  12. For audience questions a stick mic on a floor stand, near the first row of chairs, left or right aisle, is the current technique. Moderator will ask those with questions to line up at the mic when Q and A happens. Donohue style running around with a wireless stick mic has been out of vogue since before Donohue was in vogue and well after.
  13. Better consult the higher ups and get a schedule and figure out what you are actually shooting and when, They might be figuring all this out on your breakdown/setup time. Typically one brings the mics and cables to cover--individually-- each room you're going to be in; set them up before everything is showtime and take the camera from room to room, plug in and shoot. You would be much better off using a camera with XLR ins than dealing with a dual system. In their minds a breakdown setup takes a second; in the real world it is different. Yes, for you, that means mics on desk stands for dais and podium and a mixer and cables for each room. No dais in the breakout rooms? Fine, but the breakout rooms should have a sound system. No sound system? Plug a stick mic into a Fostex 6301B; that is sufficient for 30-40 people. That would be fine if you were using a good camera mic to capture the speaker But, typically I would use a mixer in the breakout room (and some auditoriums) and send audio to camera and a use second out for house sound or the Fostex 6301B. You don't need a stand for the Fostex, just put it somewhere where it won't fall over; gaffer tape it to a windowsill or something and tape cable runs to the floor so nobody kills it by tripping and it goes sailing. Yes that all means running cables back and forth but you have control over the mix at both ends. Avoid taking a shitty sounding patch from the house. You don't want bad sound going into the camera. A good house mix from someone running house sound doesn't happen very often at small conferences. No need for lavs just tell talent/moderator or breakout room speaker not to move from the podium, or a mic on a floor stand--whether they like it or not. I would have--at the outset--budgeted it the way I indicated, set up everything and go from room to room, which means audio budget and a second pair of hands. When a room is done for the day your second pair of hands can be wrapping as you go along, rather than doing all of it at the end of the day. If they balked at a realistic budget and workflow such as the one I designed above and tried to haggle it back to doing it the hard way I would tell them to find somebody else. This is all off the top of my head I haven't done conferences of the sort you are describing for close to 17 years. The 'find somebody else' part still happens occasionally. If you let non A/V and non Vidiots design a chaotic and inefficient workflow (because they get sick to their stomachs at the prospect of getting a realistic budget together) you are gonna get tortured.
  14. Riffs In The Key of Steely Dan 

    I saw Larry Carlton at the BB King club a few months back. He did play some of the Steely Dan music he worked on. What a fab player.
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