Allen Green

Boom it from below the shot is an alt.

I love mine. you can set it up to power up as soon as it sees TC thru the Lemo. Even better :-)

John, I go to China often with the NBA. YES this years China Games 2015-16 were in Shenzhen (via Hong Kong) and Shanghai and yes we were detained, confiscated and after 2 1/2 days we got in with the gear -three crews and about 30 cases. The other cities no problem we have Carnets and when entering Beijing or Shanghai the customs officers just stare at the Carnet for a while and after calling several other people and checking serial #'s we get to pass but it always takes hours! Jack, the Carnet is the bond is what I understand. the 6 times I've traveled with NBA Entertainment we've always just had the Carnet, passport and visas. Now when traveling with the team charters..... its like you never came into the country. Of the 6 times over for the NBA China Games we flew twice with one of the teams. Had our Carnet stamped in the USA but no one ever stamped it in China. The US Customs told us as long as we didn't get the in stamp and didn't get the out stamp we were OK. If we would have gotten stamped going in and not going out then issue. This years big shoot was Jordan, Ming round table discussion in Shanghai. Pucker factor was high-lol My advice is work with the Carnet issuing company to gather as much intel. Have passport and Visas in order and never challenge them (it's their turf) and prepare to wait.......... forever (it seems like). Good luck

Me and my son (21 yrs old) caught the 70mm Special Roadshow showing of Quentin Tarantino's "The Hateful Eight" last night. It was beautiful work. And Tarantino bloody of course. After the 3+ hr screening we were talking this may be the only time to have this type of film experience (Program book and intermission and no trailers) in his lifetime (hopefully not). Made it even better when I read Mark Ulano say they did no ADR! Again thanks for repping the Sound Guy Mark, in the best way!!!

My condolences to you and your family. He may be gone in body but with memories our friends and love ones stay with us all our lives. Hope you're having a great memory of your dad today.

looks great Matt. will be watching for it. Street price yet?

Now I have one and after two weeks of daily use- love it. Allen

Simon, got the 664C for a show I'm working on, and after 2 weeks...... Love it! Thanks well done!!!

+1 on Lithiums. Peace of mind is worth the $$. Also as afew said bill them as expendables!

I can't afford to buy cheap wireless. Say what you want but I haven't gotten the quality out of a Senn G2/3 or Sony UTX or any of those cheaper wireless than I have out of my Lectrosonic 411a's with SMQV transmitter!! I wouldn't have the client's I have now using those cheaper wireless. Because if you fail you don't get hired again. Sure if you do corporate videos and the like you may be able to use cheaper $500 wires. But I'm judging a book by performance not it's cover. There is no magic bullet when it comes to wireless. Sure like I said if you want to do video work, church or live stage stuff you can do it just fine. But to do high end work you need the BEST you can get- yes it cost about $3000 per ch for great wireless. Not putting down $500 wireless there is a place for it. Just keep in mind it will NOT out perform a $3000 unit from Lectrosonics or Zaxcom. If so Top Chef, Friday Night Tykes, The Apprentice, and every other show you want to name would use them. It's Apples and Oranges. Just my two cents :-)

I got a custom set of in-ear monitors from Alien Ears (in Clearwater FL) http://www.alienears.com/ . As a musician I also use them in my church gig- most all big contemporary churches that use bands now seem to use an in ear monitoring system (in my experience). This is why I got a pair. And for work I can use them in a loud environment and protect my hearing and get great audio! I do a lot of NBAE and this year at the NBA Finals I noticed a difference with less ear fatigue. Still occasionally use the 7506's in interview situations. But my best buy last year was the in ear monitors. The only thing is no one else can use them (custom fit to your ears) so if a client wants to hear a playback and you're not set up with play back such as a video village set up, you need to keep a set of can's close by. Just my 2 cents.

Started my 3rd season of "Friday Night Tykes". New bag with Soundbag Dashboard and Audio Root BDS. So far I love it!!

I have a Denecke and worked with a Betso on a show in Penn. a multi-camera football show (Friday Night Tykes) we would hang them on the cameras that would go 'off speed' at times. I was impressed with it and it's on my list to buy. I really like the size and display. You don't have to carry around a jammed slate to check cameras anymore. Thanks Allen

I would say it's location dependent. Meaning if you're in the UK or Europe then probably most mixers are using Audio Ltd or Wisycoms because of service and price. I find Lectrosonics or Zax being the wire of choice in the US -most mixers I run across on the road will have them. Service on my Lectro's is great you send them to NM and can get them back in a week or less. And they (Lectrosonics) are road warriors The only knock I have against the new L's are you have to pull them out of the bag to change the freqs. My 411 rec'vrs I can scan in the bag easily and see everything without pulling the unit out of the bag. I usually keep the trans on 100mw. just my 2 cents.

I do work a lot with NBA Entertainment and we use the Quantum Q5X transmitters. On players we use the Q5x trans in a neoprene sleeve that fits in a pocket sewn in the under-arm area of the Jersey- now Adidas has these pockets in all NBA and WNBA jerseys. We use lots of moleskin to hold down the cable and a Countryman B6 (the mic and battery are built into the trans) are connected to the collar with a small coat hook (Black brass Dritz brand coat hooks and eyes) crimped on the head of the mic. All wrapped in moleskin. Jersey's are pre-rigged one for first half and one for second half, game day we don't handle the player at all. After half time and then after the game take the rig out of the jerseys never having to bother the player. When the mic heads are rigged with the small coat hook you can't notice the head sticking out of the collar. The transmitters are very thin and light- when we have them rigged up it's hard for the player to notice its there. We turn them on and off remotely. For practice we use the same transmitters in neoprene VersaFlex waist belt with custom pouch for the Q5X. Then we clip the mic on the collar and use moleskin between the jersey and skin tuck and tape the wire into the belt. Good luck, Just my 2 cents.

Marc, If it helps any I've worked in China 3 times in the last 5 years and my gear has made it thru the flying process every time. We had Carnets on every trip. But never had gear not make it thru. Good luck. Would like to know what you find. Thanks.

They are scouting a warehouse location. So we bring in everything. Also thanks for the input Phillip and Tom. I have a month or so they want to shoot sometime in early March.

Simon, Glad to see this come to fruition, I remember how impressed I was with your idea when you first posted it a while ago. Yes- I'm looking forward to the 664/411 model, I'll be ordering one. Success to you bro!

Asked to bid on a video shoot. Recording multitrack as the bands play live to video (3 camera). Much like the "Sun Studio Sessions" or "ACL". I have a studio friend who records live bands with a laptop PC based software (not sure what) and a Behringer X32, I would provide the timecode with my 664 and feed to him, which he would put on a track. But I'm thinking of going the Boom Recorder (BR) with a Mackie Onyx 1640i mixer route. These are 'Bro' Country bands -all 4 piece with a singer or 2 so I should be fine with 16ch. 6 bands performing 1 song each. I deliver BWAV files the record label will do the post work. 99.999% of my work is Film -Television and video so it's been a while since I've messed with live music. I've always used SD 788's or 744's now 664 so never did a direct to computer set up. I've got an older MacBook with OS X 10.6.8 and 2gigs of Ram- it was my daughters and she upgraded for college and it was passed down to me. I've looked on the BR site and looks like the newest version calls for OS X 10.7 or better. Would an older version of BR be ok to use? The newer models don't have firewire (400) slots to interface with the Onyx. Also has anyone used the X32 (Behringer) with BR I know it's not on the Vosgames approved list but wanted to check (I could rent his). My studio friend loves it. keeps it in a case until he does a live (recording) show . In his studio he has an old MCI desk. Any thoughts or ideas, advice, lotto numbers etc? I know TakeV hangs here so maybe you can chime in. Thanks.

Well I've been freelance since '96 and had health insurance through NASE (national Asso of Self employed) since early 2000's it was a large group & decent rate. Well got a notice that as of Mar 31, 2015 they will no longer be in the health insurance business because it is no longer a sustainable business (thx Obama care). Curious you freelancers (non union) what health insurance you carry. Now I can buy a policy for $1400 a month added to my wife's employer. I'm paying $800 a month for the family mainly major medical. Very affordable. What are you guys/girls doing as freelancers for health insurance? Sent from my iPhone using Tapatalk

Hey good question. This is how we learn. I always find out on the phone when they ask you for your a ability and rate. I ask what camera and work flow are they working with. Then if they are going with a double recording system if they are going to need a time code slate because it effects the price of the sound package rental. Also do they need comtek's and how many. All of this will reflect the rate they pay. Then we do an email confirming what we talked about This way there are no surprises when on the shoot day they ask for something not in the email so you can cover yourself. Cause some jobs are simple 1 person mic'ed direct to camera and others are double system Timecode to several cams and they want 10 Comteks for video village. So ask these questions when they call and ask if you are available. Good luck. Sent from my iPhone using Tapatalk

I'm surprised an event this large didn't have a Freq coordinator. I know at the larger NBA games (Finals and All Star game) the have Freq guys that will coordinate and tag your antennas. And they monitor it during the game if you're illegal they find you with their analyzer and shark fin. They police wireless well. Sent from my iPhone using Tapatalk

I worked on 'Friday Night Tykes" (youth Football in Texas) and went through my B6' in a week. Production went with TRAM's after that no problem. NBC has ordered another year and I'm going to use the same TRAM's until they fail. Sent from my iPhone using Tapatalk

It worked well. The only issue I had was using it on a "run and gun" type show. it sometimes gets in the way if you notice in the pict I have a Dinkum flexmount clamp, and I was constantly trying to find the right place to clamp it. Most of the time it lived like I have it in the photo. On a cart it lives on a converted boom pole so I use my pole holder on the cart so it's EZ. But for RF reception it's GREAT!

I DId a Football docu-series called "Friday Night Tykes". This is the bag I put together for this show. We had lots of RF issues due to distance we had to cover, proximity to an AFB and of course just Morphy's law. So ran my 664 for multi-track with 3 Lectro 411's and 1 SRb (Blks 19, 20, 23 and 24) with a PSC RF distro unit and a RF Venue shark fin. Hopped to camera with SRb (Blk 21) as reference audio on camera Sony 800's (HD disk). Also used a Lectro IFB T4 on Blk 26 as did all the other mixers (3) so producers could monitor all our bags. Sometimes up to 12 wires on game day (3 cameras with soundies covering characters and 6 to 8 to cover play action on game day -shoulder, Jib and stedicam all jammed TOD 23.97). I ran TC from the 664 and put a Denecke box on the camera (my camera guy would occasionally go off speed to shoot slo-mo). The Betso worked great producers loved it! I loved it- didn't have to hang my TS-2 off my bag. All-in-all the bag worked well. On game day I rigged the shark fin on a small mono pod on my harness to get some height. Powered it all with ol' NP-L7s's. Worked about 80 days on it from end of Aug to Dec. I especially want to thank Rich Van Dyke at Pro Sound NOLA he helped me a bunch putting the bag together- GREAT GUY! Friday Night Tykes airs on Tues nights on NBC's Esquire ch.