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t.elder

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About t.elder

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  • Birthday 01/01/1

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    New York, New York
  1. About to get a SD 744t

    It's tough to say because everyone's needs are fairly similar but always slightly different. I would take all of your equipment out and build it; that will be the best way to figure out what you will need. Also, think about the jobs you will be using it for and make sure you have the right cables for that particular use. I had a variety of power cables, time code cables, and input / output cables made to accommodate the recorder and the needs I have for it; for instance, I have a 4-pin hirose cable to 4-pin XLR cable for when I use the machine on the cart, and I have a 4-pin hirose to 4-pin hirose for when I use the machine in the bag, with an NP-1 battery. But even though I have a bunch of possibilities, there are still other cables that I've never built because I've never needed them, at least not yet. Tim
  2. Winter Gear Suggestions?

    I can't recommend a good pair of snow pants enough, even when it's not snowing. They're great for the days when you start outside and then company move it into a building. You just slip those bad boys off when you're done outside and you don't have to deal with taking off thermal underwear, etc. Rain paints can also work in those in between days, when it's not super cold but you need something to take the wind off. Funny story about Neos: went to Tent and Trails, a camping store in New York, to buy a pair a couple months back, and the salesman looked at me and said, "You work on a film crew, right? Every pair I sell is to you guys." -Tim
  3. Pre-Roll : Still an issue ?

    More than a few seconds' worth of pre-roll is not as necessary now as it was in the linear tape days for telecine purposes - the machines lock to timecode very quickly now. But it's still necessary for all of the reasons Robert mentioned. I set the machine for five seconds pre roll and give it a few seconds before calling speed. I also give it a bit of post-roll so the machine doesn't lose timecode at the end and wreak havoc. -Tim
  4. MKH 50 resale value

    Aside from the helpful suggestions already supplied, the only thing I could add is that you could do this project with the MKH 60 or a MKH 416. You could also look into renting a Schoeps CMC 6 body / MK41 capsule. Schoeps are pretty common in rental departments. I wouldn't buy a microphone just for one job if you're not interested in using it down the road but you will be able to sell it if you want. Good luck! Tim
  5. Random celebrity encounters...

    The last time I saw Radioman, someone was doing a documentary on him with a handycam, so maybe his star will be burning brighter soon! Tim
  6. Work related dreams!

    I have dreams where we are getting rushed and I can't remember how to turn the recorder on. Sometimes it is actually my recorder but usually it is a piece of studio equipment that looks vaguely familiar but I can't remember exactly where I recognize it from and I really don't know what it's doing on the cart. Tim
  7. Anchor vrs. JBL EONS and inverter.

    I wouldn't bring 10" speakers to a hip hop video, either, at least most hip hop, although I can imagine a scenario or two where it would pass. I've worked with playback mixers who have had the 10" version and they have worked very well for normal playback situations on narrative / feature films. I've never had to do playback on a set without AC power available, personally, but obviously the Anchors give an easier option in that situation than bringing an inverter and another 30ah battery. Tim
  8. Near Catastophy!

    Production managers dislike tail slates slightly more than telecine houses because telecine houses often charge additional labor for them when used in excess, especially since there are always a few times when the camera cuts before the take is end slated. The other bad thing about them is they do increase the risk of scratching the film, since it has to roll through it more than once. There are times when they are the only practical way to slate the take, but I worked with a director once who liked doing them because he felt is was better for the actors. The production manager on that film complained to me that telecine was adding additional charges and asked if I could speak to the director about it. Talk about passing the literal buck... I did have a scare once after the first time I used a 744T, but it happily turned out to be the editor's inexperience with it and the files were all there. Another production (using a FR-2) once tried to blame me for losing a CF card after the last day of shooting but I gave them specific information on who I handed the card to at the end of the night and told them good luck with finding it. Tim
  9. Christian Bale sound bite

    We listened to the sound byte on set today and the actors riffed off of it for the remainder of the day. My favorite line was when Christian said something to the effect of "It's a good thing you're a really nice guy!" What would he have said if he thought he wasn't a nice guy? I was struck by the length of the clip. I really didn't think he went on for that long before he heard it for myself - it's much longer than the classic Orson Welles clip, for example. It made me even more curious to know how the program was obtained. Tim
  10. 788T "Tinny Sound"

    I've actually had the problem caused by turning a trim pot off and by simply turning the recorder on. I was disappointed that this problem wasn't fixed by the hardware upgrade but I am happy to hear that a future firmware update will fix it. Tim
  11. The subject of "Grace"

    Most IA contracts have a half-hour grace after wrap. In common practice, at least, this second meal grace is not just to complete a shot but to complete wrap. If it takes longer than thirty minutes for a department to wrap, that department incurs meal penalties at applicable rate for that contract. Rarely do AD's call out wrap grace, but the shop steward on my last feature demanded that they do so. Tim
  12. Denecke TS-c losing sync...

    My TS-3 received the RF modification after having some trouble with irregular time code drifts on a show last winter. I'm convinced the problems stemmed from a combination of rough treatment by the camera department and the Preston / Cinetape. I haven't had any problems with wireless focusing devices since. Tim
  13. A shout out

    Jeff Pullman is a great guy and I will definitely pass along your praises to him as I know he doesn't spend much time on the Internet. He had some good stories from that film - it sounded kind of crazy. By the way, he also had a great crew on that film. I recently heard of something in an editor's magazine that was derogatory towards the production - sort of a "They gave us a mess and we had to deal with it" kind of take on it - but I haven't read the article. Tim
  14. AES SF - Nagra V1 6

    Thank you, Jeff, for the informative and educational post. I don't know that he posts here or visits, but Jerry Bruck of Posthorn Recordings in New York would be a great one to talk about the use of the Nagra in classical music recordings. I haven't been to his shop in several years but the last time I went I remember he told me that he used the Nagra D for classical music recordings and must have used the analog machines before them. At the time, he was worried about tape availability and remarked that if tape became unavailable the machine would make quite a doorstop. Tim
  15. old movie pictures

    Out of curiosity, when did the Sennheiser 815 / 816 start being used in favor of the 805? What were the key differences between the two microphones? Tim
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