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Yasgur

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  • Location
    McKinney, TX
  • About
    I have been working as a boom operator, grip, camera asist for the last 6 months. I have years of personal experience and now am learning everyday from guys and gals 30 years in the business!
  1. I got 2 of these a few years back on amazon as well. Cant find the link. 2single ammunition pouches that fit on my condor backpack. Works on molle system
  2. David or anyone else, not to hijack the thread but im not that good on jw. Can you tell me what the best flexible cable to use to make my own timecode cable for my breakaway. Not enough space in my neutrik so i tought i would make my own to cable tie to the breakaway. 35 feet from nomad to canera. Splits at camera tail and mixer tail Thank you
  3. This is constructive criticism and in no way is meant as disrespect but don't use words like "learnt" and "spoilt" and do not get hung up on dragging sticks or any other sort of pa or grip job. Show you are a team player and can be an asset to the team. After all, you admit not having a lot of experience and there is no other way to get it better than working for an established station that could springboard your skillset. Jeff
  4. I get your point Wyatt but for the record, it's not chattering. It is identifying the next shot when I see it available. We are a reality show and are always running. I never step on the shot.
  5. @MM That's the key right their. They are already impressed with my 3 camera hops and iPhone battery charger!
  6. Thanks for that Jack. Like I said, I think I'll get a better bang for my buck by buying another smqv instead of the erx. Once I get all of my lavs and hops, I'll look into the erx
  7. Well, since I'm building my kit, I'll probably invest in more lectros and continue to talking into my boom rather than ifb. We are pretty small still and can get by with that workflow (as long as I don't step on recorded vocals) I usually set the boom and lav #2 to output 1 and lav #1 to output 2. I am using the camera's two U400's for hops to the SRA onboard and I match that for camera #2 with outputs 3 & 4. I thought I could utilize zaxnet but for the cost of an erx 2, I could buy another transmitter.
  8. So i am loving my nomad 6 and have been communicating with my cam op via my boom mic. I can speak and he goves me hand signals. We are shooting a reality show so my voice ends up in the cam mix sometimes. I was wondering how i could utilize zaxnet fot two way comm between my cam op and myself and also would consider adding my producer in. What are ya'll doing? Jeff
  9. Now this was unexpected. I have been told all of my life that I cannot do things and now I am a Soundman/Grip/Stage Manager/Logger for a National TV show and part of a great team. I may be inexperienced in broadcast but as a pioneer I am not. I believe an open mind to new things can be what sets one above the rest. I mean no disrespect to anyone here. I am getting a Pix 240 next week from a supplier to try my workflow. They think it is a great idea and if it works for me, I will post a video and comments. The supplier even wants to possibly write an article on the workflow. I'll be back next week. Thanks guys Jeff
  10. Chris I have received a lot of expert opinions about the 744T and I do see that makes sense. However, I am on the fence to make a purchase to either get an audio recorder only to add to the 552 or add the pix which will not only record but record a video feed in the Avids native codec. No post work at all. Can you tell me what I gain with the 744only? Jeff
  11. Mike I understand whole heartedly and appreciate your opinions. Please don't get hung up on me "watching" the video monitor, I just saw it as a benefit. I was just thinking that video AND audio could be captured in one file, already sync'd with 4 discrete channels. I could hide the video monitor (which has 4 audio monitors as well) and it would be the same as having a 744T at almost half the price with an improved workflow to post. I'll let everyone know where we go. I also understand my previous experience is mostly unrelated - that's why I added the line about jerking the camera off of my shooters shoulder! - and that's why I am asking the experts. Didn't mean to challenge, just thought I had a good idea. Jeff Again, what is IRL boom pole position?
  12. Guys, thanks for the responses. Mike, the reason that I am considering this new workflow is because this new project is unlike any that the producers have done before and we are seeing the kinks in the armor. The company has been producing shows for thirty years, most notably The Hank Parker fishing show. Primarily all of their shoots have been single camera with one wireless, maybe two if there is a guest. They all have been very small, camera operator self sufficient kind of shoots. Now, we (me included) are producing a new docu reality show called Troubadour, TX. It aired this weekend across the country. When we go on location, we are utilizing all 4 channels on the camera. I know this is an audio forum but we are not getting good audio a lot of times because we are trying to come out of the self sufficient camera operator mode. The camera does not allow for good monitoring. We realize that to get good audio right, all of the time, we need to change the workflow to include and audio capture/boom operator guy. I don't think they are ready to consider a boom operator AND a mixer operator. So that leaves me with the dilemma of how to do both with one person. Everything we do is with lectro's and Senns. We have come from sending 4 hops directly to camera to sending lectro's (lavs) to onboard receivers to channels 1 & 2 and boom pole to a SD Mix Pre then hard wired to channel three. And if we are doing a music segment, another Senn coming off of the soundboard directly to Channel 4. So what we often have is an issue being able to switch from channels 1&2 to 3&4 on the fly. Also the 370 camera can only set levels on channel 1&2, 3&4 are set by Auto Gain Control. Compound this all by the fact when we get off our bus to shoot the talent, it's run and gun - don't stop rolling until we run out of tape (P2Cards). I know it;s not ideal but that's the way it is. Mike, this is the part of the workflow I have NO control over. What I could do however is provide a loution that will allow me to hear all 4 discrete channels and then record into a Nomad or a 744T. In investigating that scenario, it would require extra post to marry the sync'd w/ TC audio to the video. The camera shoots AVC intra codec which requires to be transcoded in order to work with Avid. My thought is I could simplify everything by sending all audio to a 552 and send post fader direct outs to the Pix 240 and since the Pix 240 records DNxHD, which is native to Avid, voila, I have a perfect lens to post workflow that require an SDI cable as an umbilical which is what I am doing with a hardline XLR anyway. Lastly, my experience is a music guy. I have produced 11 albums and 4 Concert DVD's. I have relatively little experience in the broadcast world though. My team likes my work and I only ALMOST yanked the camera off my shooter's shoulder like 3 times in 6 months! I am getting better. Jef
  13. First post and I just joined the forums about an hour ago. Great site guys! I am on a reality based show that shoots with an HPX 370. We have 2 and also an F3. The 370 has 4 channels of audio but you can only monitor two at a time. My issue is we use 2 lectros for talent lavs, 1 G3 for boom pole and another for getting a line feed from an audio board. I am considering a new workflow and want to be "The GUY" that can be the expert to secure more confidence on the team. Here is what I am considering. I want to buy a 552 mixer and link it to the new Pix 240 recorder. I will be tethered by an sdi cable sending video and t/c to the pix240 and 4 wireless transmitters sending to the 552 and direct out to the 4 channels of audio on the pix 240. This way, I can monitor all 4 channels of audio in the mixer and actually preview video so I know my pole is out of the way. Our main problem has been that to hear channels 3/4 on the 370, you have to flip switches on the camera which is not practical. Also if we get drop outs, I may miss that by staying on 1/2 or 3/4 too long. Also, on this camera, you can't adjust levels on 3/4 *or 1/2 if you have the routing changed) It would be nice to have a chest pack for the mixer and the pix 240 somehow mounted to a cheeseplate with the articulating arm holding the monitor into clear view. Comments appreciated. Jeff
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