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Gerard-NYNY

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About Gerard-NYNY

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    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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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Farewell innovation?

    Glenn is seeing the big picture from his side of the desk. He is not only defending his patent against Lectro, he is defending it against other manufacturers as well. Lectro is leading the charge and trying to open a door for themselves and all the other manufacturers, including big ones, to copy and market the same patented product. Thus, gripes and hates are a bit off center when this issue is viewed as just Zaxcom vs Lectro. It is a much broader issue.
  8. Farewell innovation?

    Not really. It is not known if Lectro consulted attorneys before releasing their product or if they did and received erroneous or whatever kind of advice. Zaxcom looks like it got a superb patent, great advice and it's based on a unique idea. That is all I will say about it. It is quite possible Lectro released the product going against an attorney's advice because they didn't like the advice, but I don't think they are that dumb. Better yet, perhaps Lectro released the product knowing full well (based on an attorney's opinion) that they would end up in court and intended to use the occasion to test the waters and see how the court rules when both sides are presented. Lectro could not have challenged the Zaxcom product (or defend their device) unless they manufactured and released their product and then subsequent to that, fully expect the infringement suit. Lectro cannot challenge the patent or defend their own device by going to court and saying "Well you know, we're thinking about doing this similar type of thing but we want to get an opinion on whether or not we're infringing because our attorney doesn't have a crystal ball on this--but we really don't like that bullshit patent that they got. It's not fair!!." There has to be a concrete issue and now there is, because they put themselves there. Otherwise, they're not in the game. If this is the case, they have nothing to lose except the cash they budgeted for legal expenses and something to gain in market share if they win. It is possible that Lectro and their attorney believe they have a convincing or novel argument that is good enough to take a calculated risk with, and, if they should lose, they can study the decision for weak points and appeal with a revised argument. Or develop an unexpected revision of their product, that takes the decision into account that somehow does not infringe upon Zaxcom. A negative outcome for Lectro might be ok with them, because they will know what they can or cannot do in relation to the Zaxcom product and figure out a path forward. The only way Lectro can know for sure where they stand on this issue is to be in court over this.
  9. Farewell innovation?

    Having worked around law and lawyers in a professional law library in one of the law schools here I would offer the following opinions: Patent Law reform: not likely, the basic laws are pretty good. How the laws work are based on boilerplate law itself and on historical decisions that were cut and dry, or, new precedent based on fact types not clearly outlined in the laws. Zaxcom's patent for "Virtual Multitrack Recording System" based on the technologies they outlined in their application that was approved and granted. The court will likely, first and foremost, respect the patent and not say something like "Well you know I don't like the look of this and USPTO made a mistake in granting this so..." Despite views that it may be unfair to Lectro or whomever, the awarded patent to Zaxcom is also a legal document issued by the government that has a lot of weight behind it--in the marketplace and particularly in the courtroom. I did view a pdf of the complaint and it clearly explains that Zaxcom got there first, with the 'idea' and the technology to create what is described in the patent. My bet is that Zaxcom will prevail.
  10. Ultrasone headphones for location work. Which ones?

    i have pro 650s from way back. Bulky a little heavy but comfy but very easy on my ears. 7506 has always sounded harsh to me, but everyone's ears are different. It takes a while to get used to perceiving directional orientation. .
  11. Sound Devices Mix Pre-3 and Mix Pre-6

    I think the reality of the market you are in is a worldwide phenomena and G8 countries are just as full of foolish cheapskates as the rest.
  12. Sound Devices Mix Pre-3 and Mix Pre-6

    from the get go, if i receive a call like that my standard rehearsed ad lib is: are you sure you want me to work with that crap?... you have everything to gain by introducing that into the discussion. you and i are prepared to elaborate on the subject. the producer side, usually not prepared. on the other hand, losing a potential headache is not a bad thing at all. if you care more about the end result/quality of sound and supplying a hassle and crisis free shoot than the producers do it's not a good match.
  13. Time to step up to the plate for your fellow crew members. Pick up Fudgie The Whale from your nearest Carvel store (if you can actually find one anymore) and I guarantee you'll be a big hero, at least for the moment!! https://www.google.com/maps/search/Carvel+in+NYC/@40.7330959,-74.0807972,11.25z
  14. Sound Devices Mix Pre-3 and Mix Pre-6

    maybe the right way to phrase it is: real producers. honestly i thinks the mix pres will eventually outsell the zoom f series because people in the zoom market will not invest in enough really good wireless and mics to plug into it. they want cheaper but find it hard to balance or quantify/qualify cheap vs adequate vs sub par vs decent vs great. quite often they are the people who buy twice/cry twice, several times with different items!! lol. at least with the mixpre 3 they would, with a little research and due diligence in regard to making smart purchases, understand what a 'great basic kit' really is for their intended purposes. if they don't they keep buying and crying and ultimately get nauseous when they finally succumb to having to hire a sound guy or girl who wants nothing to do with operating the equipment they have already purchased in error.
  15. Sound Devices Mix Pre-3 and Mix Pre-6

    they won't be thinking for very long--they're going to jump on it.
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