Johnny Karlsson

While that looks pretty cool, you can simply get the cables for your existing devices. Cable Matters available on Amazon for example: https://www.amazon.com/Cable-Matters-USB-C-Micro-Black/dp/B00UUBQ710/ref=pd_sim_147_2?_encoding=UTF8&psc=1&refRID=WT6Q9PJ2Y9D3PAX2XTZD I got a couple of those. Works with my WD MyPassport hard drive and Kingston SD/CF reader. Looks like they have a few different versions with micro USB etc. All around $7-9 a piece. (No FW versions as far as I know)

Is nudging one frame a big enough issue for them to actually call you about it? Lol. You can always check the tentacles by plugging them tc in into the 633, go to tc jam menu to check incoming tc against the internal clock. If there's no offset there then you know it's something with the cameras. I would guess the cameras have their own offsets, since it is consistent, not drifting.

Sure, but otoh it may set a precedent that we're all supposed to and expected have those. I usually tell production in the hiring process to make sure the camera rental house send one out with the camera if they would like sound recorded on camera. Never been a problem.

I feel that a word of caution is in order here: if you plan to do this for a while, you will want to be able to hear above the tinnitus ringing, so don't monitor too loud in your headphones. Hearing damage can happen easier and faster than most people realize.

I also got a YPA (TA5 to Sennheiser locking mini) that was snap-crackle-pop right out of the box. If anyone knows how to open these up, please let us know how, I would like to try re-soldering mine.

Simply request a copy of the insurance certificate from the client that states that they have production insurance. Present that to the rental house.

Reality check, responsible adult: If you already have a job, why do you need take these low-ball jobs? All you are doing is undermining the business for yourself and others. Actually - they do have the budgets, but since they know you are a pushover and will agree to these unicorn rates... You have set a low standard for yourself and these "clients" will never let you raise your rate. Then they will refer you to others, telling them that you will do it for that low rate. Then other sound mixers will hear about it and will not refer you to real clients, because they are afraid that you will undercut them and ruin their business. None of this will lead to anything good. Your reputation is everything. If you do things right and respect yourself, the fact that there are few sound mixers in San Diego, should work to your advantage and make you more valuable. You see, when they bring me or others from out of town, they need to pay milage, flights, hotels, per diems etc.

I’m in the buy once, cry once camp. When I started, I first rented, then quickly bought the pieces that I knew I would need, for the jobs I was getting at the time, done properly. Gear that I could keep for a good long while. The first bits I bought were used; SD442, and a Lectrosonics UCR211 with a UM400 to go with it. I bought the following new: a K-tek Avalon graphite pole, Rycote softie, a 416, a COS11D and Sony 7506. Then I added a Lectrosonics 190 set from eBay as a backup wireless, which also came with a buttplug, which was useful for some gigs. I still have all of it, except the 211 set, the 442 and the Sony cans. I have of course added a million things along the way, as the jobs have required it. Personally for me that is the key: get the things that the job at hand requires - and charge a reasonable rate. Then when you get bigger and better jobs, add to the kit, If you are doing it right the gear should pay for itself, and you should still be make a living. - If it’s specific things that will not get used often, rent those and have production pay for it. Cheap gear will not help build your reputation. Be reliable, and bring quality both in terms of gear and your skills. Conclusion: my advise would be to not set up some arbitrary number like “3000”, just get what you need - if and when you need it. Little by little (if you keep doing this) you will accumulate $50,000 worth of gear before you even know what happened.

Thanks SD!

If implemented, I wish it would be selectable which tracks to auto-mute. For example to keep the boom fader up, or an input (or return?) to play some tunes while cut. Having some sound go to the Comteks at all times will save you from the "I think my Comtek is broken...".

This should be a "sticky" at the top of the forum.

Who's supposed to ring the bell? I'm pretty sure it's this guy:

Yes, Robert. All you said there is right. Problem is that I did weigh the package, pay and print the label at home. I did go to the post office with the intent to go inside to drop it off. However, it was the Friday before Christmas and they closed at 5pm. I got there at 5.05. I was going out of the country for the holidays, so I put the package in the blue collection box 10 feet from their front door. I asked that post office if they have a security camera - "yes, but we are not allowed to film pointing to the outside".

Lectrosonics SSM B1, serial # 1626. Unit went missing in the hands of US Postal Service. It was mailed Dec 23 to go in for service at the Lectro mothership. It was sent Priority Insured, but the "insured" part is useless. Initial claim and two appeals all denied. Their explanation why: Since there is no initial scan of the label, their tracking system says they never received the package and hence there is no evidence of them ever having it. Lesson learned - never use USPS to send anything valuable.

Right, no big deal for any of us here, but note that op said "they have some experience with shooting, but very little with capturing audio". Fast forward to shoot day when they try to set up and have no idea about gain staging, setting radio frequencies etc. Even if they managed to hook everything up or someone helped them do this part - who will monitor? Keep track of batteries and so on... Will very possibly end up with something like "um ok, let's just put the shotgun on the camera and shoot this".

I would still suggest hiring a sound person - when everything is set up and the cast are properly wired up, mixer can work from outside the room...

Been using that Kingston for a year and a half - all good here. (The "older" black version)

Well, actually.... now that the mini is out the value has fallen so low that I have started a recycling program for the regular CMIT5U. Please send any unused ones to me (note: I don't charge a recycling fee, but you have to pay for shipping).

I use the CS3e along with both COS11D and DPA4061 - all good either way. One thing I have noticed is that the CS3e and COS11D tend to blend well when mixed together - that could be just a coincident given the circumstances of those times I have done so... or maybe a thing that Sanken indeed have designed to be that way...?

Auto Mix for the 633. Lectrosonics - please make it possible to pick the 3 block range with the wide band series, such as 19, 20, 21 / 20, 21, 22 (A-2, B-2?)

I would echo what Philip said above. and add: bring a hand-held stick-mic - if the style you are shooting allows for it.

http://www.sportsvideo.org/2016/12/29/wireless-microphones-and-the-fcc-incentive-auction-key-facts-for-broadcasters-leading-into-2017/

I'm very happy with the K-Tek Stingray bag.

Not sure if they did the Asteroids on R400 (because I don't own one), but it's actually true about the UCR211 and UCR411A.

That looked scary. Good to hear that you are ok, Bernie!