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About daniel

  • Rank
    Hero Member

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  • Location
    United Kingdom
  • Interested in Sound for Picture
  • About
    london based broadcast sound op.

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  1. Bling your kit

    I would pay up for ultralight titanium XLR connectors - neutrik.
  2. When Production doesn’t rent your kit

    For me, it depends :-) - 1 way to look at it is to consider what you are 'saying' by how you manage the situation. I was booked on a live satellite broadcast last week. The week before I try to discuss some technical details with the client - not much by way of reply except to say they'd provide kit. Fair enough. In the end, I elected to bring a few bits and pieces I thought would make my life easier - most of them stayed in the bag. There were some technical matters which I had hoped to preempt when I first made contact the week before. End of the day, I supplied a bit more than asked for despite their lack of engagement and the technicals were resolved by me despite not having right equipment to do so (which I would have supplied given the chance). Early days for me and them, maybe I'll get bored with their 'lack', maybe I become their 'go to guy' because i was credible and showed willing. I do understand being 'generous' with gear invested in as part of a business plan can be counter productive but sometimes a 'loss leader' has it's place.
  3. Which needs an IFB or Nomad at the other end?
  4. Best Reporters Microphone

    I like that a few plug in transmitters have the option for headphones output, then the reporter can have a listen in to what s/he is doing with their earphones while they're shooting, and hopefully fix it themselves! (if their ears are not painted on....) I can only think of 1 (Røde), what the others?
  5. Sound Devices MixPre-3 vs Zoom F4

    So what solders are you recommending? I got the impression Inari was referencing the (mogami) balanced / quad cables and the connectors to indicate how potential RFI issues were mitigated. I was not aware particular solders had a bearing on this.
  6. Best Reporters Microphone

    I carry an RE50 - as much for a provisional VO as anything. NB. You'll often see a BBC reporter using a MKH60/416 as a reporter's mic - generally they hold it quite low and it is less conspicuous in frame (than RE50) especially when interviewing someone as the mic is re-angled instead of moved from mouth to mouth. I find the results quite good, even when used close to mouth (in a noisy environment, with HPF). MKH60 with HPF has virtually no handling noise btw. Of course, there are advantages to having a something like an RE50 ie. cheap, tough, doesn't need phantom and if the environment is really, really noisy then it will better under the nose than the shotgun. But a 416 handheld with HPF is quite workable in a lot of reporting situations.
  7. Show me your bag

    It is quite handy to detach the cable (when not in use :-). I've been using these for a while, which you can plug the cable into either side. I let the curly cable retract into side pocket of bag which seems to make headphones easier to stow.
  8. Sound Devices MixPre-3 vs Zoom F4

    Nicely done!
  9. Yep, I think I said as much many pages ago on this thread. DOP-Director had an Aaton XTR and 2 SNs, 1 piggybacked onto the SQN3m and the other with a lot of velcro he used to attach it to the camera mags (for OMBing). IIRC we had a blooper box for sync. He'd been using this set up since the since the 80's when he filmed the Afghan-Russian war (from both sides!). I actually got in contact with him last year to see if he'd sell me 1 of the recorders :-(. We were filming a salvage operation in the Med, early noughties, in quite a challenging environment. Although I was quite excited to be using such a piece of kit, coming from DAT, changing reels in some quite horrendous conditions was not so much fun (it took me 2 hands to do the procedure and something for me to wedge myself against). Fortunately he was still using his XTR (instead of video), so I was usually ready before he was (as i didn't need to faff around with a daylight changing bag, lol, remember those?). My favourite things about it were the size (considering it was 3 I/P) and the hand crank. Least favourite thing about it was the thought of dropping a spool onto the open deck of a ship pitching and rolling (yes, I did have the lid on but you never know). I also made sure i carried it such a way as to be able to get it all off me quickly in case I ended up going over board, it was a scary gig TBH - the director nearly died when a piece of marine equipment landed on him, we had a fire on board, heavy gear loose in stowage, floods, backfiring MSD and a nightly roach cull in the 'mess'. Needless to say, I got the gig when a more experienced colleague declined the offer. The ships engine rooms guys were great and I had some fun evenings with the PlayStation and their Filipino food, the rest of the ships crew were repulsive and to have 1s safety dependent on them was a bit uncomfortable, especially after the accident to the director who was 5 days from getting the medical treatment he needed. The SN was probably the best thing about the whole month.
  10. I have a medical advisory board gig pencilled and was considering stacking 2 x 10Ts to get the track count (20) instead of lugging a Joe Co and the rest through an airport. Client not asking for a mix down (as they want to transcribe each speaker separately) but i was going send 5 groups of 4 to my 633 for an automixed monitor O/P, blah blah blah. A cascade feature for these recorders, to put a mix of all I/Ps onto 1 recorder would have been pretty cool - I am guessing it's not possible to add this to the USB connectors through firmware.
  11. Sound Devices MixPre-3 vs Zoom F4

    I voted for M.P.3 but if you want a control surface on a budget then the Zoom is a lot cheaper than anything else.
  12. On My Radio

  13. The acquisition of Audio Ltd suggests (to me) they intend to continue to develop the production sound side of business. An MI variant of an existing model (costing less than 1 channel of A10) seems like a obvious way to maximise the return from R&D in a product line. I've no idea of the actual numbers, but if a small tweak to an existing product opens sales up in another, much bigger sector, then I can imagine the increase in sales might be quite significant, which would hopefully mean more money to spend on R&D (of a bigger PS recorder?) and possibly more acquisitions. Personally, I find this more interesting than some of the legal stuff we've seen over the last few years (even if 1 is not a counter point to the other :-). 3 of the other 4 brands, seems to have concentrated on developing top end recorders and conceptually I like the way Sonosax have done so with a modular system that allows for relatively cheap entry point but can be scaled up (perhaps not quite to the level of an X3 or Deva24). I'd really like to see the granddaddy of brands synonymous with PS, squeeze the something like their 'VI' into a 'VII' sized box - but everyone has given up on this I think.
  14. Really? I didn't think either of those 2 brands were in a position to supply gear to as many countries and people as SD have. Of course I don't know the numbers but just guessing from what rental houses (outside US) stock.
  15. From Post to Field recording

    "Production will (have to) pay for it and you can save up for your own gear to buy later." Another perspective: Production should pay for kit but sometimes the rate on offer isn't covering it (and your daily rate the union would advise). And honestly, I don't believe many of us haven't got involved in 'loss-leaders' to get some experience or foster a new client. For 20 years I've worked in an industry full of folks coming from wealthy backgrounds who've thrown big money (1 way or another) to get a foot hold. People don't like to admit privilege was a part of their story or they took a hit to get on or brand names are part of their marketing but make no mistake, these are significant for owner operators and rental houses (who your kit package will be compared to). If you've got the money to invest in a career you really want, do it. The more expensive gear holds it's price better and why learn how to make crappy stuff work when there's more fun and a better rate making the better/best stuff work. Worse case scenario, you sell it. So you loose a bit, but it's not earning much interest in a bank account, so you invest in crypto currency or property instead? If you buy what you know you need at least you can say you gave it your best shot. In some of our markets it cost c.50k and takes 3 years to get an average degree - with no guarantees at the end of it. Well paying careers in creative industries are being chased by folks who've got the 'safe' degree (their parents wanted them to have) and then gone on to do another degree in something they 'really' want to do, often at independent institutions like SAE. I'm sure as an analogy this is not perfect, but if you consider the majority of taxis rides are taken by 1 passenger, it might be said a 3 door hatchback is a legitimate way to get into the trade but the reality is, when people book an uber or a minicab they expect to see a luxury german/swedish/japonese luxury saloon/estate/people carrier and would (rightly or wrongly) question the credibility of the driver who turns up in a hatchback. Sure, film and video production is an industry but it's not an industry like mining megatons of iron ore or producing chipsets for mobile phones - self marketing is a big part it.