Nate C

On the job I am on at the moment my boom op is fed a feed via Lectro IFB. When I boom I prefer to use Lectro IFB as it is one less bit of gear I have to put down and I can leave the pole on set and still hear what is going on if I have to step off for some reason. Granted the sound quality is not as good as say a MM1 or duplex. Have never worked with anyone using a duplex system here in Aust. I was trained not using a feed (and I've really only been in the industry the last ten years). At times I prefer to work without a feed,or at least only to one ear. But hey that's a whole other argument. Cheers Nate

All I know is I feel uncomfortable with saying "Speed" without saying "Sound" in front of it.

Damn I want to disagree with you all, but that may have more to do with I may have had a few drinks and i had a good day... Think I just need the argument I didn't get on set.

Thank you Marc, just got home from work and had to give my cat her flea treatment. She had some what that look mixed with I ain't no kitten, I will hurt you for shits an giggles. The irony is we named her Tickels.

Like many here I have both. I tend to use the sankens more for the reasons John mentioned above, although I do prefer the sound of the DPA's. I find that the DPAs blend into the boom easier. It has been quite some time since I have used Sennheiser mics, so someone else may have a more informed opinion on this. 4060-4063 series have two caps, a soft boost/flat or a high boost. The flat cap is great when using as a plant mic, hair rigs, thin clothing etc. Rarely do I find the need to put the high boost on. But I am glad to have it for the occasions it is required to make a voice sound that little bit nicer. Cheers Nate

I am a mixer that thinks like a boom swinger or a boom swinger that thinks like a mixer. When I came out of film school all I wanted to do was boom swing. I learnt how to mix but my heart was in boom swinging. Did a little work booming but found more in mixing, thus invested money in equipment and focused on being a mixer. Then an opportunity came up booming a six month gig, that turned into not pulling my recording gear out of storage for a couple of years. Then that work dried up and I started mixing (Mainly doco) and investing in gear again. How important was it to me to boom before mixing? As I have always done both and have no desire to give up either or place a higher value on either, I could not imagine doing one without influencing the other. Each time I learn a new trick booming that transends into my mixing and vice versa. We as mixers are only as good as our boom swingers. Often i feel guilty for not spending more time to the craft of gliding a panamic over the cast.

A good cleaning usually fixes a pole that is a bit stiff to extend. I pull the pole apart and use a chux cloth with soapy water. It is important to clean the collars as that is where most of the friction occours. To clean the inside of the pole tie the chux cloth off to a shoe lace (thin rope) and pull through the interior of the pole. Tie more knots in the chux cloth as the tubes get larger. Rinse off pole and let it dry. Takes all of twenty minutes at most and may save the need to send to the states. Or it could be another issue all together.

The tape that tore my foamie was what we refer to as camera tape over here. Stylus is the manufacturer. As the tape removed a thin stripe of foam all the way round, the hair tie slips perfectly in that indent. To my ears the mic sounds the same with or without the hair tie. It may change the characteristics of the CMIT, but not to a level I have noticed. That all said I don't use anything on my B5d as it concerns me that it may squash it a little. I am as yet to be asked to put a marker on that mic. When the day comes I will probably go a hair tie over the tape option. I use a soft material (kind of fluffy or terri-towelling) hair ties about 8mm/3rd of an inch wide. They usually come in packs of 5 - 10 in multiple colours, found in chemists, convenience stores and the likes. My preference is for the yellow ones. In fact I have been using the same one for the last 4 years. Sorry Sawrab I honestly don't remember the specific brand.

Best practice is to stay out shot still. No need to reinvent the wheel. I use a coloured hair tie on the foams of my mic. I once had someone put tape on the foamie of my CMIT and it tore the foam. Started using the coloured hair ties at the request of a DOP and now has become standard.

Thanks for keeping us informed Jack and thanks team zax.

Watched twice, cause I enjoyed the laugh twice.

I use a pencil like case that came with a lowpro on set bag I had years ago. Got rid of the bag in favour of a back pack, the pencil case has remained a good friend. One side is black the other see through. Length ways it is split into two compartments each zippered. One compartment I store half a dozen or so lavs and my lav bullet. Could easily fit more. I use a bit of wire cable tie found on most computer cables or bread packets to keep the Lavs in neat circles. The other compartment I store a whole bunch of stuff, Koala and rycote fluffies, RM11s, pre cut schools, media wipes, etc, you know the help get me out of trouble stuff needed quick at hand.

Hi Brice, the two main sound shops in Sydney are Soundequip and Lemac. Soundequip are a sound only co. and Lemac are a camera and sound shop. Both are located in Artarmon. The guys at Soundequip were quite helpful when I first moved over. As I have only recently relocated to Sydney I am not the best qualified to fill you in on the industry here. I am sure one of the many Sydney soundies will pipe in. You may have provided a great excuse for a bunch of Sydney crew to catch up for a beer.

DEpending on the job my system changes slightly. If it is day playing stuff then a system like Crews WM1412 - we do day than month over here. If it is longer form stuff usually shoot day. Or whatever they ask me to do - well as close as I can using seven characters. Cheers Nate

Nothing went "boom" on my side of the world. Maybe a little sibilant hiss.

"That's a wrap" "NO we still need..." c-stand clank, shot bags thump, end of day shoulders slump "ah f@#k it"

I have both the petrol poncho and apron. haven't used the apron as yet. Rainman for boom, though I find the fluffy is usually sufficient. Camera/electrical tape around the xlr connectors. On a doco one of the other soundies xlr connectors (at pistol grip) filled up with water in torrential rain. He didn't have a good day. Shower caps can work well over pouches on the outside of your bag. Oh and snap lock bags of various sizes from A3 to little snack size ones.

As mentioned above SRa's don't like having TX's near them. Once you get the TX a foot or two away they are usually fine. Maybe you could try putting the freq. that are having issues onto the 411 with front end tracking.

Just wondering how much a single sheet of moleskin - like Jason linked - usually costs in the states. Here in Australia it retails for around the $9 - $11 mark.

Congrats to all the winners and those nominated. Good to see some names in there that I know.

Awww.... that is so cute Predrag.

Yep Andy in my eyes you are on your own regarding Panamics... well yes they are a little chunky and heavy, but the are the most sturdy and reliable pole I have used. I don't mind the older Ambient poles - sorry not sure what series - but I always found the top most extension a tad on the overly thin side. This is based on using their longer drama poles.

"Turn over" is pretty common here in Australia too.

I don't get the no coffee thing. It would be much safer for the whole crew if I got coffee, and good coffee... right now.

I learnt this trick recently off of another soundie. I roll gaff around an actual business card. Perfect pocket size gaff supply. That and someone should be happy I put there card to good use.