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Paul Graff

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About Paul Graff

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    Hero Member
  • Birthday January 1

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  • Website URL
    http://paulgraffsound.com

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  • Location
    Los Angeles, California
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  1. The Grand Canyon

    That's great. Thank for the inspiration. Wish I could've made NAB (and this side trip) this year. Good times.
  2. Does anyone here know a top shelf documentary mixer in Vancouver, BC? If they have some music experience, that would be helpful. Please text 323-842-7255 or email me PaulGraffSound@gmail.com. Hopefully I can bring some good people together. Thanks!
  3. Sound Devices 688 + SL-6

    Another thing I just thought of. The link I/O on the 664 allows me to send the mix tracks from my Sonosax, so I don't have to give up any isolation tracks. This will not be possible with the 688, like it isn't possible with the 788T (unless you use the CL-9, of course).
  4. Sound Devices 688 + SL-6

    This is digital, like the 633. 664 is analog. Some people like that. So (unlike the 664), this can do input and output delays. It also has pop up faders for imputs 7-12. They've also added mix assist, which 633, of course, does not have. For me, with 633 as my over the shoulder, docu. rig, and 664 on the cart, I'll stick with what I have. I do wish I had the integrated output delay, but, of course, that wasn't possible with the 664, since it's analog. PG
  5. Curious about "Overall Mix"

    Great post, Alan. We worked together a couple of years ago at the Skirball and I really admired your minimalist (pre 633) set up then. And your resume, of course. I also mix a lot of documentaries and completely agree with your comments about protecting the privacy of the subjects/talent. With the "Gotcha" mentality of (some) reality shows pervasive in our culture, it's important to establish and maintain the fundamentally different code of ethics that distinguish a documentary from that. I provide a mix to camera (and Comteks) with the intention that the my mix will usually be what is used. And certainly what the film is cut to. I respect the intention behind your use of post fader isos, but it seems to me that it eliminates one of the primary functions of having isos in the first place, which, in a documentary, is when somebody enters the scene unexpectedly or talks to the people on Camera from off-camera to get their attention. When someone is out of the scene or on a private conversation, I find that I can maintain their privacy by turning off their wireless receiver. I use all 411a's, but introduced a SRB into my package last year for a documentary which had a lot of isos and, like others, seeking to lighten my rig. I found myself in a situation where one channel of the SR was in the scene and the other was not, but I couldn't kill their iso other than to turn the turn down the trim as much as possible. That's one reason I'm sticking with individual receivers. Anyway, thanks so much for posting, I really enjoyed reading it. Paul
  6. Curious about "Overall Mix"

    Ah yes… The mix. That was the question, wasn't it? Thanks for getting us back on track. A wealth of great answers, as always.
  7. Curious about "Overall Mix"

    I appreciate what so many of you have said; RP, JW, Crew, mirror, Jack, JB... all of you. I posted hundreds of times on RAMPS and the early days of JW, but not so much lately. Perhaps it is because I check in less frequently and by the time I do, the well spoken members of this forum have pretty much expressed my sentiments exactly. I don't want to be redundant or merely say "hear ye, hear ye… Amen". To the new mixers out there I say the following... If you are in a market where you can do Utility for an experience Mixer, that is without a doubt the best place to start. Otherwise, please cut your teeth on student projects or legitimately low-budget, self-funded passion projects. The Internet is a great resource, but as others have said, you learn by doing. That being said, use the immense resources you have at your disposal and respect the time of professionals. Read every manual for every piece of gear from cover to cover. Go to the rental houses and spend hours playing with each piece of equipment. Meet mixers and try to create opportunities to quietly watch them work. Difficult to do, I know. If you don't have a degree from a recording school (I don't) at least take some electronics courses (I did), learn the basics. In short; show some gumption, show some hustle. Get out there and learn, learn, learn, then do, do, do. When you genuinely feel like you're worth a lot of money you will find that your negotiation skills improve. In the nonunion world where I do a fair share of my work, I find that I am able to keep my labor rate where I want it. Where the difficulty comes in (and this is also true on some union jobs) is in the "package" mentality for gear. A set amount is budgeted for gear before the needs and complexities of the job are discussed. For interviews and simple gigs, this is fine, but for more complex jobs it has frequently become a great challenge to get the à la carte charges that are appropriate. This has veered far from the OP, I know, so I will stop now. Peace and love, Paul
  8. Curious about "Overall Mix"

    I believe, for once, this is the appropriate reply. Or... sigh...
  9. LA boom op moving to NY

    LA's loss is NYC's gain. Ken is a fantastic boom operator and a beautiful human being. Positive energy, creative solutions, tireless work ethic. Congrats on following your heart, Ken. (That's how I landed in LA.) Best of luck on your grand adventure.
  10. Working on "Harold & Maude"

    I loved that film so much. Very influential in my youth, as was Cat Stevens' music. I think it's long overdue for a revisit. A cult favorite when I showed films in college on 16mm back in the eighties. It's impressive that you started out on such a high... and then kept it up! Thanks for the share. (months ago, I know, but I missed the post then).
  11. Countryman Lav's

    I should give the B3 another try. Maybe the one I got was NG.
  12. Bon Voyage RPS

    That is so crazy, Robert. I just saw you here three days ago...and now you live there. I guess it's real now. It's been thirty years since I was in Cambridge, but it made quite an impression on me. The adventure has begun. And hopefully the gear has an equally safe and sound arrival. Enjoy! PG
  13. Countryman Lav's

    Since this thread got resurrected and I didn't see it the first time around, I'll chime in. I use Sankens and B6s and have come to really like the B6 a lot. I use them with MM400(ABC) transmitters and, IMO, red band is REQUIRED. Even wired TA5 for SM, I would still strongly recommend red band. I even sent the gray band ones I had back to Countryman years ago and they desensitized them somehow to turn them into red band for me. My experience is different than Jan's in that I find the Sanken picks up the room much more than the B6. Countryman calls them "Isomax" and think the moniker fits. Great choice when there are a lot of lavs out, especially in an unscripted situation where multiple lavs must be open at once. While the sound is admittedly not as lush and full as a Sanken or DPA, I find the sound of B6 highly intelligible, which makes them a great documentary lav. Mount with a crisp cap and an overcover and wind or plosives will not be an issue. I'll prefer a Sanken or DPA in a quiet environment on a scripted show, but in the doc world the B6 is a great choice, even when it's small size is not required. When I tried a B3 I thought it sounded MUCH worse than a B6. I was very surprised by this, but I returned it straight away. It sounded very dead. So that is my experience. Last comment is that you must master mounting them to minimize cable rub near the head. Paul
  14. SD 633 , Features , Wish List / Questions

    I agree with all of this, but they lost me at single media. MARF and WAV on one card? What were they thinking?
  15. New Van for 2014

    I wrote this a few weeks ago, but never posted it, so I'm doing so now. I've had some thoughts since I wrote it, but I'll paste this first and then write a little more below. At long last the 2014 Transit Connect has finally arrived in the dealerships. I've checked them out side by side with the previous generation and thought I'd share a few thoughts. I'll keep it brief, since most of what you need to know can be gleaned elsewhere online. I've done so much research on all the options out there, I could write pages about it. The redesigned van is much more appealing as a daily driver, with better engine options and more car-like amenities available. To my eye, it is much nicer looking, too. The one thing I want to share that might not be obvious just reading about it is that the interior height is significantly reduced from the old model. The rear door height is now 44" and it used to be 52". The interior height once inside is now 49.7" vs. 59", so over 10" shorter inside. The side door on the current model is listed as being 48", but there is a step up right inside, so it is effectively no higher than the rear door. However, with the new long wheelbase option ($1000 more than the short wheelbase), it is a LOT longer inside now; over 9 1/2 feet and the old one only 6 feet 9 inches. You can also get a lift gate for the rear door (like a SUV) instead of swing-out doors. I like this option. Nice for loading or unloading in the rain, for one thing. Basically, if you can live with it being shorter, it is a great vehicle. My biggest issue with the old one was that it was severely underpowered. This is better now. No diesel, but the well-proven 2.5 liter Duratec is standard. There is the option of the 1.6-liter EcoBoost for $795 which gains you a little more horsepower and torque and 1-2 more MPG. The reliability is questionable, in my opinion. Certainly not as proven as the Duratec. So, that's what I wrote. Since the height was one of the main advantages of the old Transit Connect (us sound mixers like to roll our carts in without dismantling them), I'm not sure this is an improvement for many of us. Only 4 inches higher door than a Dodge C/V, which is the cargo version of the Caravan. I'm also not sure this new TC will hold its value, because I expect them to improve the engine options next year. There will also be more competition with new Chevy coming soon. Okay, all for now. Buying a used van in the next week or two. Will minimize depreciation and upgrade in a year or two when I like the options more. Paul
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