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Jan McL

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Everything posted by Jan McL

  1. The real world includes Director, AD and DP knowing they have X minutes to get the scene and the time it takes expands to fill 'X'. "Check the gate!" comes at 12:59 and at 13:00 the production is looking at meal penalties. Even forewarned that RT is necessary 100 x $7.50 means the AD will say, "Sorry. That's lunch." Happens every time.
  2. Creeky Floor

    Just read the most recent page of this but...guffaws.
  3. REVIEW: Schoeps miniCMIT

    Nice review. Meant a lot at the moment. Plan to test a rental unit toward knowing how it does at 12V with ZMT Phantom and a shout. If it holds, might have to get one for the kit and those low ceilings amd battery life.
  4. Running the Set

    A little note on running the set. Set belongs to the boom operator. It's their domain. When I place a mic they notify operators, set dressing and/or props at the right times. Boom operators of note keep the boom mic away from the mouths. They protect everyone, including me by being conscious of where the mic is pointed 100% of the time. They know who to ask for what and where these people are all the time: operators, set dressers, on-set props, AD, the sound-friendly electric / grip. What else?
  5. The use of compressors in location sound

    Lightbulbs going off in mixers' brains all over the planet. Of course!
  6. Headphone

    My DT48's were first pro purchase along with that Nagra III and a used 416. I bought what my mentor used/wore. It was easy.
  7. ISO's vs. Mix Track

    Don't mind starting fresh on the subject. In the original thread, Mark Hensley strongly presented his case for ISO's > Mix Track; the PSM's in the room went wild. It sure raised my hackles as one who also came from mono tracks --> two track --> 6 ISOS --> 12 ISOS. My hackles have since been tamed by a period project re-mixed by the same Mark Hensley and the estimable Bob Bronow, arguably the best fingers/ears for background noise on the planet. There were many constraints not least of which #1 often not willing/able to be wired. My mix evolved to create a track sufficient for #1 to ADR it. She did. There it is. Some setups, the mix could only be a tool for the picture and dialog editors to survive the edit and know what was missing right away. I had to be of value and losing the mix forced me to find other ways to achieve value. Do not underestimate the value of comms. I often bring full up the off screen / plant mics at the beginning of the first take to confirm that they are there for me, producers and for post, then let 'em roll thereafter in ISO only. Was scared to have Mark use my tracks given that other thread but I had done what I thought was right. Gave 'em in the mix what my ear thought good relative to mixing lavs to boom for what Brendan, Joe and I call "beef": fattening the bottom @-12 for intelligibility, else boom. But I sort of gave up on a useable mix given the wire situation and many 1920's automobiles. You guys did a GREAT job given the raw material you were given; this project caused me to put the mix into a different frame of reference. No less precious mostly. A paradigm shift of some magnitude. Like a director, it's my mission to collect all the elements that can make it work later. I am a collector of options. Just some prep time ruminations about the landscape. Furthermore, it's Sounderday. https://zoom.us/j/817979726 https://www.amazon.com/Pilot/dp/B017APVDEO/ref=sr_1_1?ie=UTF8&qid=1511004914&sr=8-1&keywords=z+the+beginning+of+everything
  8. 600 MHz gear

    Following along since a bunch of my 600Mhz stuff can't be re-freq'd. Sigh.
  9. Sony MDR 7506 coiled cable

    That video was made at my request by the estimable PSM Paul Pouthier who thanks NYC PSM Tom Varga for the idea. Glad it's getting around.
  10. #metoo and sexism in general

    Yes, weirdness happens from all directions. My first time wiring #2 in her green room, arrived with costumer who knocked and we entered whereupon #2 ceremoniously turned to us and dropped the sleeveless dress to the floor revealing that the dress was all she had on. I think I just went on as normal, not remarking upon her condition. IIRC we went with a waist belt. I'm certain my hands were shaking as I did the work. As I type this, my face is flushed. Wow. I didn't stay more than three weeks on that long-form job. Told no one until now. Have not really had any issues with male actors but rather with (male) crew who pass by and make some remark about my kneeling to attach an ankle strap on a fellow or with my hand in a woman's costume somewhere. I'm quick to respond with a verbal bitch slap with enough force that commenters think thrice about ever coming near the sound cart again. Last show, I had my hand under a knee-length dress up to the bra. We'd done the move before and I was confident the skirt was draped to modestly cover her but she remarked "Hey!" in such a way that I became aware someone was looking at her backside. Without turning, I said, "Get outta here, you!" with just enough bite and humor. Shit. It was #2. Didn't matter. He walked away. I assured the lady that she'd been covered and all was well. I have no trouble pushing back / setting boundaries in a professional setting. The boundaries seem always pretty clear. Thing is, I set the boundaries very early since one of the first bits of advice about the biz' came from Dennis Maitland (http://www.imdb.com/name/nm0537946/) who told me (among other things): "Never sleep around." That's a different subject but worthy of mention since there's a different energy I put out if I'm not open to a romantic relationship with anyone. Kind of like saying, "Don't wear low-cut blouses and short skirts," but that was part of my solution dating from the 70's when I started college and soon thereafter was date-raped. For a long time in the face of someone aggressive I would be like a deer in the headlights: frozen. Having been raped as a little girl, I carried signs of victimhood around like flashing neon that predators could read from miles away. I was as a result preyed upon a lot the first 45 years of my life and as a result have become a reluctant expert. Ha. Did a lot of work and found a warrior self inside that tolerates none of that bullshit: a much better place. Here's to warriors.
  11. Boom Stand

    Best, most fun part of our job: making it work. You sure have made it work!
  12. How often do you get clean lines on lavs?

    Huge dilemma for me: how often to "go in" to make adjustments. There are a hundred considerations in that decision not least of which the ruination of my day as Chris mentions, but if it's for that one line passing through the door or for overlap protection or the actor's having their own thoroughbred-worthy skittish day...for good or ill I'm likely to let it go, especially if we'll be going in for coverage. Sometimes you've got to know when to fold and get that critical line wild or trust that post will be able to make lemonade. I've literally gotten on my knees and cried joyous tears before a costume designer in gratitude for their excellent sound-friendly choices lest they think we not notice. Sigh.
  13. Netflix teaser "Dark" first German production

    Your work Matthias?
  14. Dont let this happen on your set

    I walked off a shoot after the 1st AD said he was going to light his arm on fire for camera and his unskilled fired-up arm would be between the camera and the only means of egress. Low budget but very experienced and famed director and cast were armed with a bunch of short ends from a just-finished feature and they decided to make a feature film in 5 days. Turns out they finished in 4.5 days. I've not watched any of their films or TV shows since.
  15. Not that I've done much second unit, but part of the reason I no longer make efforts to set up for such things--having done it for a year or three--is I find the whole mess much like pulling teeth with burger tongs no novocain from both sides of the equation. Here's to doing it better. With a moment to contemplate while prepping, I offer mixer <--> mixer communications up for discussion. Worked mostly with the fabulous Daniel McIntosh on second unit for many years. He was my first call--among other things--because he asks a buttload of questions. Good! It's a comfort knowing he's thinking it all through. Same for the playback mixers with whom I work most. Daniel's once again behind the first unit console these days and for good reason. That's also why I'm spending some time on the subject. Long form work is exhausting and free moments are spent palate-cleansing my brain and ears. During at-cart breaks I think about the future: Next scene; Special /equipment lav prep; Lunch/wrap anomalies; Call the office; Tomorrow's first scene / logistics; Production meeting, playback/special equipment dates; Repairs; Feel moved to streamline the mixer <--> mixer process to free up maximum think time and minimize stress. Crafting sentences helps me think it through with higher logic; that's what I get out of writing here along with a spackling and sanding by colleagues. Based on Daniel's good collected questions I present a first draft of Tandem Unit/Playback tick list: 75% of the technical information a 2nd Unit PSM needs is contained in my Sound Workflow Memo that productions have begun to regularly request. I just edit the most recent one before each new show. The rest is contained in the formal Workflow Memo published by the Post Super following the workflow teleconference. I know how to find those memos later because I always call them the same thing in the subject of the email: Workflow Memo. In the email to the 2nd Unit PSM the utility sound is cc'd with a sentence asking that 2nd Unit PSM order expendables and deal with questions/logistics with the utility. I also include a call sheet and crew list so it's easy to get to the UPM to lock down their deal, including the mention of parking. Ask what they use for sound reports. If they use MovieSlate I share my settings via the cloud. If they use paper realize I should note that fact in that day's sound report email. Mixers get parity. If it looks like there will be an unusual (late) call or location I let them know as soon as I know. Separate email of introduction to production secretary (cc: APOC? POC?) asking for script to be sent. 2nd Unit may need help finding a spot to offload gear. Crew list gives them Teamster contact info. Follow up with Utility on this. I ask my utility to gather sufficient start work to add to the box of expendables to be delivered to their set. So two emails: Mixer cc: 1st unit sound utility: crew list, call sheet, workflow memos, delegates expendables and logistics to utility and a couple paragraphs about any actors' particular preferences. Ask about sound reports. The preference paragraphs are honed in subsequent seasons: one of the best things about TV. Paperwork PA, Mixer, APOC or POC?, Production Secretary: email of introduction asking for script. Have kind of run out of thinking gas, but suppose a lot of this preparation applies to other departmental day players too. Hope to hear more on the subject from y'all. Next project, figure out a logical, smoothe way get all my wireless for working mics out of Block 26 gracefully.
  16. Maybe because at least in NY each of the things requires a text and response. What about loading in the gear? Here's the teamster co-captain. Who's your team? What's the next tandem unit sound roll to be called? What's the kit rate? They need expendables. Getting start work is sometimes like pulling teeth. Following up with accounting when the check doesn't arrive. Who's the music super? On a fast-paced job having to text messages with critical information from the field that would be bad if there was a typo puts my intestines in a bunch. Getting all the info into two emails from me frees me up. I don't consider that overthinking, I consider that doing my job better and helping the day player in the same way.
  17. Excellent point. I've called this document "Sound Workflow Memo". I edit/improve it with each project so I know all the elements are there to be shared and I don't have to rethink everything. Technical writing is hard, well...it requires effort. I'm not good at it. Totally on the list! Yup. Anybody up for sharing their WorkFlow Memos? Could prove enlightening.
  18. Handle for cart, 12" or so, sources?

    Love this part of the art: cogitating better solutions.
  19. Playback speaker tip

    Delighted to see the MaxiMouse getting its due. I've had mine since well before I ever contemplated doing production sound for film/TV. Got it and an SM58 in the mid-80's when my ex and I were doing street poetry performances on Miami Beach. Served me well since. Great tech, Lectro!
  20. Video Chat with Jan

    Yeah, he was more introverted than you would think. The kind of shared experience you describe is always memorable and moving. Glad you found brotherhood with him. He was an empath for sure. Another memory: soon after the breakup there was a marked increase in press attention / attendance. Michael was still an infant and Jimmy came out into the parking lot where we were setting up, his beautiful boy in his arms. He addressed the paparazzi in calm, measured tones asking them to please be respectful of his son and his family. The love in his voice... They all sort of melted away.
  21. My experience too as Tandem mixer. No mas!
  22. Concur. Began my last project by presenting the craft services king with a small jar of homemade raspberry jam. He happened by just as I was contemplating who'd been especially good to us recently. The rest of the shoot I got a cuppa every morning as soon as power was run to his tent. Huge win.
  23. Digital Sides via iPad and/or...

    On some kind of mythical, possibly Quixotic journey to get marked up sides onto the iPad. Solving: Easiest way to highlight the sides from .pdf script and export to iPad app cable of interfacing with Bluetooth page-turning hardware pedal (PageFlip Firefly $109/two AA batteries is the hardware I chose). ForScore is the first and only PageFlip-compatible app I've tried. Pretty good, but would prefer an app better suited for highlighting in many colors. This one requires I hand-build all the highlighter colors and is clunky when switching pages (you have to get out of highlighting mode first) and clunky to change colors. Moot if there's an app made specifically with highlighting with many colors in mind. Here are currently-listed compatible iPad apps: forScore, unrealBook, Deepdish GigBook, DrumSetlist Manager, Hymnals, iCue, iGigBook, iReal b, Loopy, Loopy HD, MuseScore Sheet Music Viewer, Music Binder, MusicReader, MusicPodium, My Lyric Book, NextPage, NextSong, OnSong, PiaScore HD, Play On Cue, Pocket Jamz Guitar Tabs, Pocket Jamz Piano Notes, PrompterPal, SampleWiz, Avid Scorch, Scorio Music Case, SeeScore, Finale SongBook, Sheet Music Direct, Scorecerer, Set List Maker, Setlists, Steinway Etude, TheGigEasy, Virtual Sheet Music, Teleprompt+, and Planning Center Online Here are the compatible Android apps: Android: MobileSheets, MusicNotes, SongBook, Fakebook, Lyrics Flipper+, Moon+ Reader, EBookDroid, Cool Reader, ezPDF Reader, and any other keyboard-compatible app. Tried GoodReader .pdf app for highlighting. As with most, it can import docs from Dropbox, email, etc., but again it's not so friendly when changing colors 'cause you have to 'save' the pink on the page before changing to green on the same page. One would benefit from doing all of the 'orange' for the whole script, then all the 'pink', then... A screenshot from GoodReader's highlight operation: Tried PDFPen, a paid Mac application I got to digitally sign .pdf's and works OK, and easier for me to deal with on the laptop (as opposed to iPad). Imagine there's a better application for that OS. Preview only offers a few highlighter colors but words very well otherwise. Here's a video exploration of the above-referenced tools: Typing out the issues helped; thanks Anybody successfully doing this yet?
  24. Wow. DPA: pushing the envelope to fit a very large object.