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Everything posted by JonG

  1. New LEONARD range

    @cineli are the new Leonards the same dimensions as the old? Would one be able to use the cover and fur of the old model with the new one?
  2. Nagra III sighting on Season two Episode two of "Endeavour"
  3. Gear Appraisal

    I'd say looking at consignment prices or prices on our WTB/FS section may help. Usually people have a good idea of what is selling for what price because they are active in the community, and buy/sell fairly regularly, so most people wouldn't need appraisal service.
  4. 600Mhz question

    You are clear to use those blocks until the date stated above, however T Mobile has begun using parts so you will have to vacate those areas. I do believe that your block 24 IFB will still be useable as the duplex gap falls in that block. You just need to stay within the frequencies of the gap. You can google the exact frequencies for that. Your block 25 stuff is probably gonna have to go overseas or get re blocked however.
  5. Best Reporters Microphone

    I like the e835 mic a lot, and have two of them. But most ppl use an RE50 or MD46. I honestly think that the e835 works very well because it is cardioid and can reject a lot of background noise, but your reporter also needs to know how to hold the mic peoperly. An omni mic like the RE50, which I also have, is standard because reporters don't often know how to hold a mic, and when interviewing ppl, they often forget to hold the mic to that person properly as well. Hence the omni pattern. I switched from using the e835 to the RE50 because of this, and because when I look at my clients videos (that are often shot all over the country), the videos that I participated in have a different mic than everyone else. Even though the audio quality was not perceptively different, aesthetically the continuity was off on my end. So I recommend the RE50 simply based on those principles alone. I wouldn't bother with the Rode, no one uses it unless they are too cheap to pony up and buy a standard mic.
  6. The "Best client/producer/agency quotes" thread

    I guess there's no point to asking because if the DP was dumb enough to say something like that, then any other question would not be worth getting into, but where does a DP or anyone for that matter feel the need to give sound tips to the sound person? I mean, can I get away with telling the DP which f-stop will be the best to use in a particular situation?
  7. I know that Aggie used one (and still has it), not sure if he chimes in on this forum tho.
  8. Content Jobs

  9. The "Best client/producer/agency quotes" thread

    "Why don't you go ahead and mic them up..." insert every reason not to use a lav here
  10. Content Jobs

    The price of getting your content made. Make sure it makes financial sense to pay for the people that you need to hire before set out to create your "content"
  11. T power to 48v

    Pete upgraded two of mine a couple of years ago. They have performed flawlessly ever since, and have been my day-to-day mics this whole time. I've got a handful of others I need to send off as well. Waiting for necessity to give me a little motivation.
  12. 1/4 Track Playback Head On A Nagra IV-S ?

    I'm also interested, in case another Nagra lands in my lap, I may want to have this done to it.
  13. Sgt. Pepper Lonely Hearts Club Band is 50 years old

    I will say that I am a big fan of the new version. This was my first CD, and ever since, I have owned several copies of the vinyl LP, cassette, and reel to reel. Of the available formats, the reel to reel and the more recent mono mix were by far superior, however this new version puts a lot of dimension into the old recordings and makes it sound like yesterday instead of 50 years ago. Pretty impressive. They have certainly made their money off of me!
  14. Yeah it is frustrating. I've inquired in some places for a selling price for certain units and was quoted absurdly high because they're looking to eBay for a reference.
  15. Nagra III sighting! While watching a new Beatles doc on Netflix you can see Paul giving the thumbs up for tape loops with a nagra for "Tomorrow Never Knows"; early "Revolver" sessions. Heres a pic:
  16. David Letterman new show

    I worked on a show with an ensemble cast of bearded gents, and hiding the mics under their shirts beneath the beards never posed a problem for me. However with a drone nearby, I don't know how one could avoid capturing that sound.
  17. Nagra II up for sale on eBay
  18. 14 hour day

    My rule is to give yourself a high rate, and let that be your 10h rate. You'd be surprised how many people will just accept it because they assume you know more than them. Plus, the more of us that do it, the more of a norm it is. I for one hate showing up and then sitting around for a couple of hours before anything starts happening on set. This way people may actually start thinking about your relative call time, and if not, you'll be payed accordingly for your time.
  19. 14 hour day

    My way of fighting back is always quoting clients for a 10h day. Camera folks are never clever enough to try it, but I've been on shows where I got to wrap early because of what I negotiated and camera had to get b roll for a couple of extra hours
  20. NFL Boom ops

    I do at least one a year. The team I work for just wants me to transmit to their camera and thats it, so I just keep an MM-1 on my belt with their SMQV. Just follow their camera guy around and get what he needs. It's hard work but if I don't have anything going on that week when they're in town, then it's a welcome gig. The first year I used a 416 but found that it was kind of useless, so the next year I used an mkh70 and it was the perfect tool to get what was necessary, although quite heavy. NFL films uses a cmit5u but I prefer to use more robust mics in case of damage.
  21. Hearing Follow Focus

    If the DIT or AE is asking you about it, you should remind them that it is not you making the noise. I see more and more "cheap" camera accessories that are either noisy or cause wireless problems. Not much you can do except let the AD or Director know and put it in your sound notes. On a side note, those red dot cos11s are designed for loud environments such as screaming, so the amount of additional gain you may be applying during a regular dialogue take will likely bring up the noise floor, but I'm sure you already knew that.
  22. A lot of recorders these days are including AES inputs as a good portion of their i/o. I'm specifically thinking of the Cantar X3. If I were on a show using the X3 and needed all 24 record tracks, and I'm using Lectrosonics Venues, and I'm NOT using a digital mixer with AES outputs, then how do I get 16 channels of analog line-level signal into my Cantar X3? Ive seen a few AC powered options from the music world that are mostly 2 channel converter boxes, but if I were to use these I'd need an AC powered follow cart to house all these boxes. I guess I could use two Venues and six SRs with AES plates but that sounds like a huge pain that is more expensive than needs be. So then what are our options? What have I missed?