Mark LeBlanc

Zack, What receiver are you using and do you have an antenna array? Mark

Scott, Pretty sure I have a standard SM. How can you tell? I agree, hard line is preferred, but so far this shoot, too much water for hardline, either on the water or shooting across a bayou.

Glenn, Is there a lag time when changing values?

I spoke with Lectro support yesterday and will try kicking up the resistor value to help tame the screams. Much of the movie takes place on boats so running my 200 foot snake (HA river -- Snake..) isn't practical.. Might look into the MM1 after a paycheck or two hits..

Morning all, General question for yall. When mixing a movie do any of you still run a line a line out to boom? I ask because I'm having difficulties on the show I'm on now. It's drama via screams and yells followed by whispered dialog. When wireless I've got the gain on the Lectro SM set to 0 and when a particular actress yells, she pegs the unit and I'm getting distortion. The only solution I've found so far is to bring out the old 200 foot snake and run a hard line to the boom, then control gain on the 788t. I just ordered an adapter cable with a higher resister values to try an help the issue, but in general do many of you guys still hard line? I love the sound of hardline, but somewhat pain in the rear... Peace

Right around 7:30min into the movie Black Dynamite. Not only does the boom make an appearance, it makes the scene even funnier because a few moments later the actor looks up at it. It was probably written like that, but very funny..

I'm about to do a project with the 5d and was planning on connecting the Denecke TB-3 to the audio input and record timecode directly to 1 track. Then in FCP use the Aux Timecode to sync with the video. Shouldn't be a big problem.. If the firmware to support 23.976 is ready, then that's what I will run at if not then 30 is fine..

Good advice guys. The operation is out of Atlanta and I'm in Louisiana. Any small claims complications? I got worried the day of the shoot when the camera guy I was working with told me he had been working with them for over 2 months and had not been paid. I would not doubt that the only address I have for them is no longer active.. Sucks..

Curious if anyone has had to get a Lawyer to send a registered letter to a production company so you could get paid? Did a one day gig back in early January, it was a mess and in addition to my work invoice, had to invoice them for missing equipment. They have "LOST" my paperwork 3 times and keep getting, "Yea, I'm on top of that issue". Haven't seen any paycheck and pretty much fed up with them. I have a Lawyer that owes me a favor and would write the letter gratis.. ML

Man, that's crazy talk.. Sure you aren't dreaming? My last two jobs have seen my "Paperwork" get lost 3 times. I've recent the invoices 3 f'in times to these m/// f///. Count your blessings.

Recently did a movie with the Red build 18, two cameras. 788t as master tc, jamsync Denecke TB3 to 788t then velcro to side of Camera A. For B cam, I'd jamsync to the Denecke when possible. No problems whatsoever with post. They used FCP 7 doing the Merge clips function and sync was no problem. Over the weekend did a shoot with the Sony Ex3 with Denecke serving as timecode master to the Sony cameras. Data wrangler tried out Sync-N-Link and found that it worked great syncing up master audio to footage. Might be something worth checking out..

Keep in mind that the "bump" is reduced once it's under clothes so adding it back makes sense. I'm mixing a movie now and in Protools that a general preset that I start with..

I started using Sennheiser G2's for hops and they have worked great. I use the Plug on transmitters instead of the regular transmitter because you can drop the Sensitivity down so it doesn't overload. Recently add a pair of G3 systems and used them on an Rf heavy gig with no issues. They are lightweight and last all day on 1 set of batteries. Will be adding adding the adapter to allow powering the transmitters from bag power. I've used that setup on 6 reality show/docu gigs with great results. I also have a Lectro SR normally used for talent, but if need be can switch it to a hop. Honestly, on the shows I've done I'm never more than 15-20 feet from the camera. Once I was blocked in a room because it was a chase the talent around the house kind of shot and the G2 system worked through all the walls.. Hope to add a few Sennheiser 2000 systems in the near future..

I recently did back to back SciFi channel movies. First was 35mm, second shot on Red. The film-loader was replaced by a DIT so that's a 1-1 swap. Timecode, no problem-Denekce TB3 on Red jam synced twice a day with no hitches. I kept hearing complains that the Red takes too long to boot, but when compared to changing the Mag and checking the Gate.. Red Wins that time battle. Oh yea, the whole Mag thing get's worse towards the end of the show when you they are working on Short Ends not to mention overnight shipping costs. I've worked with this DP before once on 35, then on Red. Didn't matter, he still took forever to light a scene, though they both looked great. Another win for the Red, when shooting at different frame rates, being able to playback right after to take saved potential reshoots because they caught a problem. The other complaint against the Red I've heard was hard drive space. The biggest difference is now people are seeing hard drives on set, where as with film those same drives were sitting in Post Production away from the set. For myself, here's the biggest win for Digital. The film developers we used only take the first two tracks of audio and put them into the QT file. Problem is, the quicktime looses it's timestamp, so Post had to go in and try and resync everything when they needed tracks that were past the first two. For the Red, with FCP7, drag into the sequence window, select/Merge and there you go all your tracks ready for editing. Win for the Red. The producers wanted me to tether to the Red but I refused since most of that show was on Steadycam and offered to help syncing in post if there were issues. None happened. As long as you jamsync at the start and at lunch the Red is great to work with. The one big "DING" against the red when using hard drives is if it's around gun fire, the drive will skip so you must use the Data Card. Yep, it's Red for me all the way. BTW, if you look at the images Red has put out with that new Sensor.. WOW.. lots of latitude..

Dan, Drop by any Academy Sports, I know there's one on the West Bank and get some .22 blanks. Get the full load kind not half load, they are loud and should work well. Used them a could of times with good luck.. BTW Who DAT!!! Geaux Saints Mark L

For a minimal stereo playback, the Digidesign Mbox2 Mini will do quite nicely. Also, digi bought out M-audio a few years back and they make some pretty good gear. Check out the NRV10 which looks like a conventional mixer, but uses firewire to connect to the computer instead of USB which is what the Mbox2 mini uses. Now, the real wildcard is Mackie's ONYX system can now be used with Protools. I have no experience with it and can't comment, but put the link anyway The current version of Protools is 8.0.3, though the version shipped on disk will probably be an earlier version, just update to get to 8.0.3 mbox2 mini http://www.digidesign.com/index.cfm?langid=100&navid=114&itemid=4962 NRV10 http://www.m-audio.com/products/en_us/NRV10.html Mackie http://www.mackie.com/products/onyxiseries/drivers/

Always in channel 1 of the 788 for me.

Hey Guys, What and or where do you get the cable from the Denecke TB-3 to Red? That would be BNC to Lemo 5.

Hey, would that be the Duck Commander you are working on?

Everything is in the bag for now. I'm working on converting a 200 foot snake to have a breakaway type connector then I can leave everything patched up and extend the wireless range or get hardline to boom when needed. When the bag is in place It's simply strapped in and can be moved around no problem. Yes I have ramps that allow the cart to just roll right into the back of my Rav. I can move and be setup in the time it takes me to get to a new spot..

Here's my built for speed cart. PC Pipe to protect booms with a handy fold down workspace. The mic case fits under the fold down and I keep the battery case hooked below that. All gear is in tool boxes that can slide out for easy access. It's fast, relatively light and fit's perfectly in the back of my Rav 4. It's narrow enough that I can get through any door and can be collapsed and moving in about a minute. I call it the swamp runner because my last few gigs have been in deep swamp/marsh, poison ivy infested South Louisiana joy.. The rain tarp is stored in one of the cases, just in case... Mark L

While I don't have the experience many of you have, I can make a humble observation. Schedules of many a show I've worked have been crushed by over covering a particular scene. By that I mean, a scene with no dialog, 1 actor simply moving from point a to b. It's a transitional scene, could more than likely be cut out and would not hurt the story, yet we will shoot a Wide Master, Mid, Closeup, Insert of Hand, then flip the world and do it again, oh yea with 2-4 takes each. Total time on film of shot, 2-3 seconds. Total time during the day to shoot, All Morning. Then come back from lunch with a 5 person dialog heavy scene and all of a sudden panic set's in and you know the perfectly scheduled 12hr day is gone. It also puts that actor who had a 7am call time for that big scene, in a bad mood. (Yep, lav them up and listen to the bitching) Do this over the course of the shoot and each day get's progressively worse. I'm getting' PAID so no worries for me, but these productions get whacked because in a few months after a rough cut, they are back to pick up complete scenes that weren't done.. And my favorite part of this is say the last week or so then your sides are as thick as the Bible and you get fussed at because you are taking too long to lav that actor up, then the director says F' it, we will just ADR the whole scene.. ML

Greetings all, Having just wrapped up a show staring "The Generator" on a majority of exteriors (Lots of ADR will be needed), I'm curious. Would you rather work on a big budget Action movie where you know say 90%+ of your production dialog will be replaced (ADR) or a smaller serious Drama where 90%+ of your production dialog recording would be used? Thx ML

Can't compare to the Fusion but I can attest to the 788t in a few extremes. I'm in Louisiana and on my current shoot went through 40 deg with Rain Machine night with no problems. The week before we were in high temp / 100 percent humidity fun with no problems. I run with the CL8 in the bag with no problems. I can also Highly, Highly recommend the Petrol Rain Poncho if you are slinging the 788t in a bag. Allows very good access and visibility to your machine. I'd love to see a Fusion, but the 788t does the trick for me. ML

Well, here's the rub. The director is from Bulgaria!! English is his third language.. So he is cool with it..