JonG

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About JonG

  • Rank
    Hero Member
  • Birthday 02/23/1982

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  • Website URL
    http://SoundDept.org

Profile Information

  • Location
    Los Angeles, Ca
  • About
    Sound Mixer. Features, Docs, Commercials, Corporate, Reality, whatever.
  1. I had a used 70 start to exhibit signs of death. Sent it in and a few weeks later, it came back good as new.
  2. Could be for T power or a Sennheiser only power used briefly. I'm guessing it's the ladder.
  3. There are a number of models available including B, D, L and LE which are all part of the IV family and have varying amounts of features. I'd say that the 4.2 will be the most expensive out of your choices, and the III will be thr hardest to find in working condition. All will be difficult to find 100% functional. I have five Nagras and the only two that work 100% were either never used or completely restored. The others had a great deal of use and have a number of issues each.
  4. After playing around with it I can see that it is a far superior app than TV Timecard. I think that this would be very useful, especially with the payroll templates and batch mode. This will surely transition us toward going all digital quickly.
  5. Thanks for the app. Downloading it now to give it a test drive. I've had TV Timecard for a couple of years and it is mostly a pretty good app. I've used it to keep track of things for myself, but realistically productions want a paper one to go in a file with the rest of the time cards because having one out of the whole crew emailed in, usually gets lost, or the accountant or whomever doesn't like the format or some such hickup. I think that as time goes on we will see these becoming more prevalent, but productions I would guess generally want to still keep everyone on set (other than maybe dept heads) OFF their phones and tablets while on set.
  6. I don't think anyone here is saying all or nothing, black or white, yes or no. No need to get defensive about your opinions. We all have loyal clients that understand the importance of who we are and what we do. No one is debating that. But I do see the advent of a "sound pa" for some jobs, and 4-6 $600/day mixers turning into a single sup and a number of eager "sound pa's" willing to bust their buns for a low rate in order to further themselves. Why not? How many people here got their start doing craigslist gigs, giving away a ton of gear and working for peanuts? Probably a pretty large number. Why? Because they didn't know any better, and they had bills to pay. There are already plenty of sounds sups out there that hire legions of young ignorant types, sending them out on jobs with their gear, taking the rental and skimming their rates. It is not unheard of, and it can easily get worse. Not black or white, not 0 or 100, all or nothing. Just something else chipping away at the stone.
  7. I think that people are forgetting that even if you're the best and the nicest, your job comes across some bean counters desk and that's the chopping block. How many times does some producer tell you the sound budget for a project and it is completely inadequate? I remember a job where they had enough money for me and a basic kit. But I actually also needed two boom ops! Not in the budget. What happened to that show? Never came out. Wires weren't the answer and I couldn't save it on my own. That producer got hired on the next one because she came in under budget. Even though it cost the outcome of the show. But to them, that's my fault. Even though I told them what was needed. Even put it in my report. But I was the one who was blamed and not called back. It always comes down to money.
  8. The MKH20-70 all have a "deep rich bassy" sound as well as crisp highs. Like a radio voice. You really can't get more descriptive than that. I suppose you'd really need to compare mics to understand. The MKh416 is not the same family as the MKH70. It is more closely related to the MKH80xx family like mentioned above. If you are buying two mics and have a 416 (as everyone should), I'd go with an mkh50 and mkh70 since you seem to be inclined towards that series. They sound good and sound alike. You do not need a blimp of any kind if you are shooting indoors, so just get a foam windscreen and save on weight. You can use common sense here. Outdoors the 70 shines very well. I use mine is a traditional Rycote blimp which is light weight and works very well. I'm not a fan of cyclones, and I do not believe that they make one for long shotguns anyways.
  9. There are already shows that have no sound crew. Just camera guys using ZFRs on talent. Granted they are usually disasters because the camera guys don't know how to lav, and can't monitor anything. But it is another step closer. I agree that having an FCC license or something should be a prerequisite for the Dugan, and it should not be available to production companies (eh hem VER). Wish all that were possible but in the end, it's up to us to make ourselves more valuable than the machine that we use, and saying no to gigs that want to provide the gear. Our species has already done a pretty good job of making ourselves obsolete in regards to usefulness. Just remember that when you're on the job.
  10. Every diy indie resource for film making says not to do this. And everyone who has ever made a film has probably skimped on audio for the first project and learned from it. You have managed to make your picture look great, and since cameras today are essential disposable, that is possible if you can operate it well enough. This still isn't true with sound. Every indie film that I work on, the director or producer come to me and say how important sound is, above everything else, and it is where they put their money, because they know that it will make or break the film. Like @RPSharman said, you aren't going to find an endorsement here in a professional sound forum for trying to find a cheap and easy way of getting great film sound. We are the people who buy a Schoeps mic instead of a Rode or Azden mic because it is better, not cheaper. We spend $10,000 on a recorder because of it's quality and reliability, instead of a cheap feature-packed but unreliable Chinese product. The fact that any one of us will show up to a job with $50k-$100k worth of gear says it all. We care about what we do to the extent that we buy the best even though we aren't necessarily payed more to bring one mic over another. But people recognize that and will pay for us to work on their projects because we are no nonsense in that regard.
  11. I have one as well
  12. Isn't digital digital? In that case, shoot your movie with an iPhone. 4K is 4K right? see the argument?
  13. I don't own both mics unfortunately, but I have used both. Like I said before, I find that the 8070 has a clear cinematic sound for good detailed recording. It is almost musical. I own the Neumann KRM 82i and I would compare the 8070 to that mic, which I use mainly on features and narrative projects. The mkh70 is lighter than the 8070, robust, and a real workhorse. It has a deep rich resonance just like the mkh50, but somehow psychology it makes me think of an RE20 or SM7b, which is probably why I tend to use it in more run n' gun type situations. That said, I still use my trusty mkh815T for things that require extreme reach, like sporting events and plays. For your purposes, it sounds like the 70 is what you are looking for. Deep bassy warm resonance, with less sensitivity in the handling noise dept. You can find mkh70 and blimp packages for good prices in the consignment sections of nearly all the usual suspects, so I'd recommend looking there if budget is an issue. I hate to say it but I've purchased all my long shotguns used because you tend to get them for nearly half price and a blimp system thrown in for free. The trick is getting a good blimp that isn't beat up, some blimps are no longer made so buying a new one can be real pricey. Also know that buying a used mic can mean that it will require servicing. While both the 8070 and mkh70 are still in production and still being serviced, the 815T is not. I purchased my mkh70 for an amazing price, but soon needed to buy a new windjammer (which had to be old stock of an obsolete model), then soon after that I had to replace the entire blimp. THEN the mic needed servicing, so all in all I spent just as much as getting everything new. On the flip side, my 82i and 815T have not as of yet needed servicing or repairs for the mics or the blimps, so that has been money well saved.
  14. @Jeff Wexler have you been in there yet? It's a trip for sure!
  15. All blocks are good and bad depending upon where you are and at what time.