RPSharman

Hi Mike, Do you find this to be the case on narrative projects where the camera audio will definitely not be used? The only time I have ever heard of an editor using camera audio for the edit turned out to be a total nightmare, as it wasn't possible to match back the production audio to follow the EDL created. A disastrous cost in time later to get all the original sound files with ISOs into the chopped up timeline. The very first argument I make when not running sound to camera is that syncing sound must be the first step before editing. Am I wrong? Has something changed in the years since this exchange occurred? Better software? This was about 8 years ago. Robert

"Scratch Track" :-)

Yep. We've all answered you, specifically and generally. I'll do it again... 8060 no problems on pole with Rycote mount. Sounds like a Sennheiser. Durable and reliable. MKH50 no problems. It's been a standard for a very long time for a very good reason. Time to buy and move on.

Hi Gordon, I looked at description on your site for AES output. Just want to be clear... can it output analog too, thus the pair of TA3?

This... Having a 416 is a great idea for any location sound person. For me, personally, I have had just about all the mics mentioned, or have at least used them. So have a lot of people here. For those of us with years in the game, we could pretty much have whatever we want mic-wise. I happen to have settled on 2 off the shelf 8060s, 3 50s, a 416 (which I never use but feel good that it's there), and a little DPA 4011C which is genius for low ceilings and for plants.

I'd go visit someone on set and see for yourself. It's an entirely different skillset. You may decide it's not for you, or perhaps the investment in a different setup is too much. I have turned down these gigs before. It's too much work for me, and there are a lot of people out there who are better suited.

It depends on how you present it. Typically in a "smaller" market, they expect things to be cheaper not more expensive, even though they may have fewer options. They think, "Lower cost of living means cheaper labor and lower rental." It's never inappropriate to ask for what you think is fair. You don't want to price yourself above market unless you are presenting yourself as an above market "premium" option, and you'd need the skills and experience to back that up.

TV networks and shows vary. Rental is $1750-2500/wk, depending on the show. You're expected to have a "full" package to do the job. So the same package, whether they're paying $1750 or $2500. That's a minimum of 8 recording tracks and that many mics to feed them. 2 slates. A dozen Comteks. They don't really care what brands you own, as long as you deliver the goods. If a show has special requirements, you can negotiate up. If there are 12 main characters and they want them wired all the time, you could charge the higher end. That kind of thing. Lockits might be extra rental, but most camera houses include them in the package and won't credit back production if they choose to rent from you. You can't compete with free. But $50-75/wk each is about right. I've never run sound to camera on a union project. People do on commercials, but rarely if ever on narrative film and TV. For most extras, I just charge the rental rate on the LSC website. It's easy to tell production that Location Sound charges 'x' and l carry it so I'll supply it as needed for that rate. It's always available and they don't have to send a driver to pick up and return. I've never had them deny a rental rate that is the book rate. Generally they'll tell you what the eeekly rental is. If it's low, I'll tack on extras and include the minimum expected equipment. If it's a good rate, I'll not nickel and dime them every time for small add-ons.

I like being able to adjust the monitors for each show. Our last show used anamorphic lenses, so I just increased the size of the image as there was no top/bottom. Sometimes you have edge info that is useful, so you want to shrink or reposition the image for that. I like to power off the monitors easily, one or the other, if I am on battery power. I own the 702 and the 503. They're not that much more expensive in the broad scope of things.

Thanks. A post colleague advised me that he got ISO tracks with a couple of frequencies that were completely notched nearly 100%. I know the recorder is a Nomad. I also doubt this was an intentional move by this particular production mixer. So just curious how it might have happened inadvertently.

If it's applied, is there any warning in the home screen?

Hello all - RTFM but couldn't find anything about notch filters in the Nomad. The description of the machine describes 2 per channel. Where are they? How are they operated. Can they be applied and have someone be unaware? Used machine or something, and notch set without knowledge. Or lent it to someone who made changes? That kind of thing. How would you know if it wasn't audible in the field? Thanks, Robert

What are you plugging into what? I am looking for ways of cleverly increasing track count using my 788T to feed extra channels into my 664.

Made in the UK!! Brilliant. That and... nothing else, sadly.

My issue with electronic reports is perfectly illustrated here with the PDF of the X3 report. Or have a look at this one from "Justified" generated by movie slate. Justified #513 - SROLL 203 - .pdf - SO MANY PAGES!! I still use paper reports. Why? Because every show I am on, when asked, tells me they print electronic reports. They put them in a folder. They make a copy. Send that to editorial who put them in a folder, usually after making a copy so they have two. Sound editorial, whether they look at them or not, also make a copy. Here's my paper report for one roll Counterpart Report.pdf - I can count on one hand the number of times I have generate two pages with one sound roll, even if we go a whole day. My report is scanned and emailed by either production or the dailies facilities and emailed out to anyone on the list. When it gets printed, it's one piece of paper, not three or five or more. My paper report also lets me draw lines from one setup to another to let a dialog editor know where to find words or lines we may have recorded as off camera "wild tracks", or even on camera stuff that is better than what we got on the shot or take they may use. A paper report has so much flexibility and ease. They are not multi-part. Just one ordinary sheet of paper. Done. If someone would format reports so that they use smaller print and could fit as many takes as I can, then I would gladly switch. What do the 788T ones look like? 6-series? Any examples here? Just my opinion, which is routinely mocked :-)

I have never had an issue with AC refusing to jam cameras, especially if the TC boxes came from camera house. On one show, they even brought them to me to get jammed and then took them back to their cart. Sometimes I just employ the "stupid" card and pretend none of my department know the camera menus. And the new REDs aren't that bad at holding time code. The last show I did with one was a few years ago, and even then it held TC just fine. I think we worry too much about this stuff.

Not sure how many P&G strips will fit in a 19" RU space. That would be essential for me. I think there are far fewer mixers running cable than JW thinks. If that was important to someone, an external pre (lots of lovely 442s around) could supply the small number of mixers with mic pres, and keep the build cost well down for those who don't require them. I think a 12-14 channel board, 12v, with at least a few routable analog outputs and a Dante card would be well received. Coms are important, I think. EQ is not, beyond LF roll-off. Sadly there's just nothing in it for manufacturers. How many of us would drop $10,000 on a 12-14 channel Solice with Dante, for example. Other than me, that is.

I'd imagine that the best ADR scenes are so good that you'd never know they're ADR. Unless there are post people here with a scene they're particularly proud of, I imagine the best will go undiscovered :-)

SGS is the best currently. If I were re-buying, that's what I'd go with. Not sure about longevity yet, but I imagine it's good. Quality built product.

When called for 2nd units, I want to emulate the 1st unit mixer in terms of what is "normal" for that particular show. The stuff needs to cut together. Just like a 2nd unit DP needs to match the style of the main unit DP. So I typically ask what they like to do in general. Wires all the time as back-up or primary? Only wire as needed? That kind of stuff. Not just for us, but for cast too. I find most guys who fill in for me or do my 2nd unit mixing ask me the same, but not always.

Yes, Malcolm. 80 proof is 40%, and is the standard. 100% would be poison!! Normally 100 proof (50%) requires a few drops of water, but the Mulholland does not. It's wonderful.

If it's an old panatape, it's actual clicking. If it's on the lav, they can aim the cones better.

Oh. I've written a few, but I can't say that any have been comprehensive. I described concisely the people I know as being enthusiastic about sound, respected in their field, and active in the community.

More grandchildren?

I remember 2006. I put a CF in my 744T. It asked if I wanted to format it. I either said yes or no, and moments later I could hit record.