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About JonG

  • Rank
    Hero Member
  • Birthday 02/23/1982

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  • Location
    Los Angeles, Ca
  • Interested in Sound for Picture
  • About
    Sound Mixer. Features, Docs, Commercials, Corporate, Reality, whatever.
  1. Indy film aftermath- my sound experience

    Glad it ended up well. In my experience, buying equipment for your sound team to use is usually a bad idea because the team you hire will inevitably have better gear of their own. Planning for things in advance, such as wardrobe fabric choices or locations where you can control the noises and dampen the acoustics will do wonders for your end product. While film making is a hobbie for some, it is always worth doing well, or not at all, especially for sound. Saving up to pay professionals will yield better results every time, and you don't have to waste your budget on buying equipment that will often be less professional and difficult to resell.
  2. How to hide a Sennheiser ME 2 on talent

    I never had trouble using a typical mole skin sandwich. Just keep trying, you'll figure out a technique that works.
  3. DPA 4017B Vs CMIT 5U

    I've used the 4017, and it's a very good mic. I have DPA lavs and Scoeps mics cmc/mk41 & cmit5u, and they blend very well with the lavs. Personally, I think that DPA vs. Schoeps mics is splitting hairs, but I still prefer Schoeps. I've had a few experiences that made me lean that way and I see no reason to switch boats. However, if you do go the way of the DPA, you should give me your Schoeps mics
  4. Digital-analog sync sound

    Thanks for your input. Still gathering information, but I think you're right @Philip Perkins the TC on the audio files doesn't matter all that much since it can change. Since the scanning house says 24 in a question about 24 or 23.98, I'm going to guess that we will have a 24fps workflow and the editor can convert to 23.98 upon exporting the project. As soon as we line up a post team I'll verify that, but there's a chance that it won't happen until the film has been shot.
  5. Digital-analog sync sound

    @Marc Wielage, you seem to know all when it comes to, well, all. Any thoughts? My director just spoke with the house that's going to digitize the film. They say shoot at 24, digitize at 24, sync at 24. But of course didn't go into detail. So then do I do 24fps at 48048? I'm getting so many mixed messages, and we don't have a post sup on board yet, so I guess we need to develop a game plan and stick to it without boning anyone down the line. What did y'all shoot at when you were recording files and they were still shooting film?
  6. Digital-analog sync sound

    Yes they are shooting on film. So the 788 should stay at 23.976, and the nagra should just run on Pilotone huh?
  7. Digital-analog sync sound

    I have a film coming up and production wants to record on film and tape. I intend on using my analog mixer, take the direct outs and record the ISOs into my 788T, and send the mix to the Nagra, and back into the 788T. The idea being that everything is already there, even though the tape mix will have a delay, it'll have the slate, and the actual tape would have TC on it. I guess my question is this: should I record everything at 24fps, 23.976, or something funky like 48048? I know that normally we would ask post, however post has not been lined up yet, and likely will not until after we've shot the film. So if anyone has ever done something like this, please chime in
  8. Remote Audio Hi-Q Batteries

    Been using RA's HiQ batts since January. Love them, wouldn't go back!
  9. Shotgun vs. Hyper, deeper dive

    Not to be the one to point out the obvious, but what most people refer to as a "hyper" is actually a super cardioid. Check the paperwork that comes with your mics. An mkh50, mkh 8050, mk41, all super cardioid.
  10. I'd be interested to know about those mics. But I get what they're talking about. Which is why I like to use an analog board. On a side note, I'm getting ready to do a film with a Nagra. Directors idea
  11. Lectrosonics SMWB coming soon?

    I too await eagerly a wideband SM series. I've been holding out on buying wireless for quite a while to see if that would happen. As of now I have all SMQVs, and will probably start buying a new round of SMVs. If wideband SMQVs are available I may be persuaded to dip into that pot as well. 100mW is fine for me, my days doing extreme reality are mostly donefore, and that was really the only application I had for a quarter watt. These days antenna placement is more relevant than output power, though a 50mW limit is, well, limiting for my needs. +1 on not wanting to re terminate my wires to lemo and needing special batts re SSM.
  12. @antoine martens thanks for the tip. I'll open it up and see of I can distinguish any breaks by sight. Doubtful. Just have to remember some day when I finish this movie I'm on. No time for rest, no time for play. But on set, plenty of time to lurk the forums!
  13. @JBond here is a 1964 Nagra III, # NP 64 5707. I believe it spent a good amount of its life laying back tapes to film because the record function is disabled, and it came with an original ATN, as well as a working SLP. The poor thing could use a little love to bring it 100% back, but I am not the man for that task, and all the experts I know either won't touch anything earlier than a IV-L, or just don't want to have anything more to do with Nagras.
  14. I used the Skyline folding cart for years. Purchased it from a mixer that had retired and wanted to make space for life It does look almost identical to the PSC carts, except that its top shelf is exactly Nagra sized, and does not extend the actual width of the cart, and the whole thing can fold flat. I really liked how light weight it was, and easy to travel with. I slid it into a cardboard box and shipped it to Missouri for a feature about three years ago, and it was great to have out there. Here are a couple of shots that I took of it when I was looking to sell it. This shot shows a Nagra IV-L with the 7" reel mod on the top shelf. You can see that the shelf does not go all the way to the right side. Below it is my little 633 bag, that just happened to be sitting there. Here's a shot looking down at it. There is a Denecke TS-2sb in a Versaflex case sitting on top of it for no reason. And here it is from the side. I think that's a Sennheiser mkh-70 in a Rycote blimp on the shelf there. You can see a wire cable attached which held pins that would lock the folding joints into place. The only thing I didn't really like about these was that the Nagra sized shelf was a little impractical for today's use, and those front castors made it impossible to go over any sort of terrain. If you pulled the cart from the back, you could go over a cable with a big bump (and likely lose anything not velcroed down), but if you tried pushing this cart castors-first, it'll topple over if it hit something as small as a penny! I mostly used this cart with an SKB case that sat on the larger of the top shelves, and the Nagra dish served as a Lav station. Here is a shot on a rooftop in downtown Los Angeles from a movie I was working on a few years back. You can see my Boom Operator prepping lavs or something behind the cart, using that little shelf. I'm standing in front, no doubt in heated conversation about wireless frequencies or the like, talking to the playback operator who was feeding Phonaks to a band that was being filmed in the scene, but not actually performing. The cart is more or less just something to hold my SKB case up, and the lower shelves held other goodies. Not that fun to move around in this configuration, but it could be pulled along and negotiate narrow doorways pretty well. Just as long as it didn't need to be lifted