Hapaty

Good point! Local would be good but not required. As this is low-budget, we're looking for non-union. Best, Gregor

Dear All, Im currently looking for an experienced and dedicated boom operator for a German production (feature, fiction) that will be shot in north-west New Mexico from April 19th till May 27th. This film will be a neo-realism drama with extensive tracking sequences I will be happy to give you more information via email. If you're interested, send me your CV and perhaps a little introduction about yourself to sound.berlin@gmail.com Thank you very much! Best, Gregor

Cool, thanks a bunch Philip!! Thats great insight. How 'visible' are these respective earbuds in your opinion? for example on male actors with no hair to cover the ears... Could you maybe give me a brand or model name for each type, so I can google more precisely?

Hi everyone, I was wondering if you guys had experience with InEar monitoring for actors! Specifically I would like to shoot a music scene with live singing and I would like to equip the singing actors with inear monitoring so they can sing to the playback. I had good results once, using one of the comtek receivers on an actress using regular earbuds in only one of her ears. The makeup artist helped me covering both earbud and cable with the actrisses hair. This time I have a car scene with father and son singing to the radio. The camera will be shooting only from one angle so I would equip each actor with monitoring on their nonvisible ear. Has anyone tried wireless monitoring solutions here? I mean would it be possible to get rid of the headphone cables somehow? AFAIK live musicians use wireless monitoring with earbuds personally fitted to their ears, this would be quite costly on a film set. I wonder if there are solutions with unifit (for any person)? Would be interesting to know what problems you encountered. In another scene of the same film, actors are singing to the radio in a living room. Here it will be very difficult to hide earbuds as they move around; its a longshot though, so I might try using the same technique. Another option would be to use a playback with a lowpass filter somewhere around the mid-frequencies, so that the actors can sing along to the playback while capturing more or less decent production sound. From a re-recording mixers standpoint Id say this method might work, but Im curious to learn about your experiences! All the best, Hapaty

I just wanted to check back on this topic. I got the rental to soldier Line Cables for the 2040s, using them successfully at the cantar line inputs. They all produce incredible heat at the XLR connectors though. Have you experienced this? Obviously the level is higher now, but I havent seen this with other line connections...

I checked it today at the rental and it's exactly how you said. Sometimes you read an entire manual without knowing that you might want to record a 7th ISO one day and when that day comes you dont remember that it was actually described somewhere. Well, now I found it in the manual and configuration (Input *blank* + Xb+) is what I was looking for. As you said David, living wiht the fact that this 7th ISO is added to the mix without further adjustment. Thanks a bunch!

This is probably utopic, but is it possible to record one of the Cantar X' inputs directly to channel 7 and recording a mono mix on channel 8? I presume that extra 7th ISO could not actually be mixed using the onboard mixer, but only recorded separately. This was vaguely mentioned in post #3 on this thread, thats why I ask: I cant find any other references. thank you!

Epic. Thanks everyone!

Thank you for clarifying! Buying LEMOs directly would mean from their official website? Im just worried how fast I can get a hold of these connectors. I still think the rental should take care of this, so Im going to try to talk them into assembling the cables for me. According to rich () the pin outs of the 2040s are: 1. mic + 2. headphone 3. connect to 4 for internal power 4. ext power in 5. ground 6. mic - And this is the Line in specification of the cantar (XLR5-F) Asymmetrical (4.4k ohm, +10dBu) line-in.1 & line-in.3: 1 Gnd, 2 Hot, 3 Cold line-in.2 & line-in.4: 1 Gnd, 4 Hot, 5 Cold The 'Cold' to 'GND' link is done at the line amplifier IC level and should not be duplicated anywhere else. So if the default cables of my rental are for balanced mic level use (Lemo 6 pin / XLR 3 pin, powered externally via hirose XLR 4 pin), all I would have to do is make two changes at the LEMO6 connector: - disconnect at pin #6 (mic -) and leave disconnected if I understand this correctly - change connection from pin #1 (mic +) to pin #2 (headphone). Is this correct or am I missing anything?

Hello Again! For my next gig I want to record 2 boom mics and 4 audio ltd. 2040 radio mics to a Cantar-X2 (which has 5 mic ins...). As many stated here earlier (e.g. post #28 ) it would generally be best to use the 2040s at line level by using the unbalanced and phase inverted headphone out of the Rx's and wiring these to the 4 line ins of the cantar (that way having all 5 mic ins free for booms and other stuff). Unfortunately the rental doesnt support this setup, their cables use the balanced mic output of the 6 pin lemo connector and they are not really keen on changing the cables. They say I should use the aaton booster12 at one of the cantar-x line ins (1/2 or 3/4) in order to somewhat boost the mic level of two Rx's and handle them on line ins while the other two Rx's go to regular mic ins. While this is certainly not an optimal workaround, my first question was if its possible to use the booster in that way at all. The aaton booster12 (http://www.aaton.com/products/sound/cantar/booster12.php) is specifically designed to boost the stereo line OUT of the cantar by +12dB. Unfortunately I cant find any information as to how this boost is physically achieved (does the line out supply some kind of dc power to run the booster??) in order to understand wether that design would allow for an application on the line ins. Could anybody clarify this and/or even check on a Cantar? Thanks in advance!

Position still open

Thank you for the info! It would be great to get in touch with boom operators rather than sound mixers. I have made better experiences that way, although you might think it doesnt matter... Thanks again for any advice!

Actually it's a german production and we would love to work with a mexican boom op, so we are searching among the locals first. But thank you for your input so far! Cheese I hear

The shooting would be in the state of Oaxaca, Southern Mexico.

Dear Group, Hi All!! Im new. Does anyone have contacts to boom operators in Mexico for a narrative shoot from late June till September 2013? OR Do you possibly know of Mexican networks to get in touch with film/sound-talent over there? Thanks a lot! Best, Hapaty sound.berlin@gmail.com