mghough

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Everything posted by mghough

  1. Awesome! Thanks for the reply. :-) Sent from my iPhone using Tapatalk
  2. I'm based in Shanghai but I'm going to be traveling to LA for a doco shoot. I'm using Zaxcom wireless in Block25( 2 transmitters) and Block22(1 camera hop). My LA based producer has brought up some concerns that this wireless won't work in the LA area. Can anyone offer some insight on this? I don't see any reason why it wouldn't work but just want to make sure. Thanks! Sent from my iPhone using Tapatalk
  3. That sounds like the ERX cables aren't grounded properly. Be careful. I had the 48v on a F55 fry my ERX because the cables weren't grounded. Sent from my iPhone using Tapatalk
  4. Yeah. RX200. Haha. I have another Nomad bag that I use for bigger jobs. It's pretty much the same Zaxcom kit that several folks have posted here. In Shanghai, I've been taking a lot of corporate and web doco jobs. Folks tend to be fine with a stereo deliverable (I charge less) so I was tired of the Nomad overkill (Back kill) kit. Haha. Switched to this kit using the Zaxcom Camera Link as my recorder and ISOs/backups on the TXs and it's really working out for me. If I used a MAXX then I couldn't power it with the Sony L batts and would not be able to fit the kit in the backpack. It's all about fitting everything I need in that pack. A fun challenge! Sent from my iPhone using Tapatalk
  5. I've been using this "lite" kit more and more these days. At this point it can cover most jobs as long as the client is ok with the ISO tracks being delivered separate from the pre-mix. I can fit it all on my back so its easy to get to and from gigs on the crowded subway.
  6. I purchased the DPA4017b set from B&H about 7 months ago. I love the mic but after 4-5 months I started having serious RFI problems with my TX742. (See Video) Does anyone know how to solve this? I've spoke to DPA and they say that I need to send in the preamp so they can evaluate it. I'm living in Mainland China so sending anything out of the country or receiving anything from out of the country is a problem. I previously used a RODE NTG3 for years without a problem. I really expected more from a mic that cost more than $2000!!!
  7. 742 direct into the mic is better. also using another mount where the cable doesn't encircle the preamp is fine. I like that mount and that preamp (if working properly) shouldn't have this issue. I could change mounts but would rather not. I may try the pin disconnect idea. 4018 with the MMPb has the same noise issue just thought that would be redundant to show in the video.
  8. I live and work in Shanghai. I've never had problems getting stuff in or out or flying all around the country with my gear but that doesn't mean its all good. If you have any journalist visas in your passport that could cause you problems. For the most part, folks don't care about sound gear in my experience.
  9. I live and work in the city so I wanted to put together a very scaled down but effective kit that I could fit entirely in a backpack. This makes it possible to get on a crowded subway to and from gigs. I'm using the the mix-pre and QIFB. I can record a stereo mix to the TRX900AA and send a stereo mix to camera if needed. The ZAXNET QIFB also allows me to record in the transmitters so I can add more if needed. I'm using this mostly for doco subject-to-camera and commercial stuff where I only have 1-2 talents. The DPA 4017 is EPIC and can fit in the pack with the blimp!! super stoked about that. I've been using it for a month now and so far so good.
  10. I'm interested on everyone's take on this. I'm currently working on a doco with a pretty green director outside the US. Last night we did a long take during a dinner with the key person and some friends. We shot for about 2h20m without stopping. It's the longest I've ever had to boom without a break. To be fair the camera man suffered more as it was all handheld on f55. I didn't really notice anything at the time but today I really feel it. I've done plenty of reality and doco work before and most directors will give the crew a rest after 30-45min even if it's just a few minutes. Of course I didn't complain as I would have felt bad as the camera man was not saying anything (although I could sense he thought it was a bit unreasonable) and I wasn't suffering too bad at the time. Also, I was able to set my bag down off camera so I was only holding the boom. Thoughts?
  11. Of Course. It's always best to find a peaceful non-moody solution. I've honestly been asked before for my box as a seat. I let them use it once and of course this was the time that I needed to get in the box a few times during the interview for various things. It was more trouble in the end to have to keep asking the talent to move. I generally have my gear packed in a way that I can set up and break down quickly without leaving anything behind. I work mostly as OMB so this is the only way that I can keep up in run and gun situations. I really think that, for me, it's all about the people and individual personalities. I have some DPs that I work with quite regularly and consider good friends. Even on tough jobs working with these folks is a pleasure. I find that as I gain more experience I get more patient with things in general. Some things still get under my skin though.
  12. All great stuff!! Thanks. I believe the DP was shooting on 500GB cards so he had some reach. It didn't matter though because the Director wanted me to roll even when he was changing lenses. I had 4 wires and there were about 7 people at the dinner. it was in an Awkward small room so it was a bit of a challenge. I think what bothered me the most was that the scene wasn't interesting/going anywhere. Of course this isn't really my business and I was concentrating on getting the best sound possible but in the back of my had I knew that we got what we needed in the first 10min. I firmly believe that once I take a job that it's my responsibility to be there and get the best sound no matter what. I can always choose weather to accept a gig or not. I was on the fence about this one and in the end I think I made the wrong decision as it turned out to be pretty unprofessional and stressful for me for many reasons. Oh well, You win some and you lose some. "It takes years of experience to get years of experience", right Senator?? The DP also asked me if they could use my Peli case as a stool for the talent on an interview. As if this wasn't unacceptable enough he did it while i was in the middle of setting up. They expected me to close up and give it to them at that moment. Annoyed, I just said "no". They all laughed...and then realized that I was not joking. I found them a chair and the director said that it was too short...I went back to setting up. Later, on another location the DP needed some diffusion for a practical and asked if he could use one of cable cases to tape it on the light. I politely told him to stop asking me for these things and that it is honestly a bit disrespectful... he didn't really talk to me after that and everybody acted like i was a big jerk. Haha, just venting at this point. Its funny how some people view our department at times. And by "funny" I mean Shocking.
  13. Ok, thanks for the feedback. I should add that, of course, my arms weren't fully extended the whole time. I was moving around but I was able to bend my arms and maneuver to get the blood back where it belonged. I was also only at about 9'-10' on the stick. I'm totally fine with 30-45min for an observational documentary/reality show but 2+ hours was a little over the top. Good to know I'm not a total pussy for being a bit sore today. :-)
  14. I've had good results with the Audix SCX1. It's a good value. I've never done a XXX job but I've done plenty of love scenes and nude scenes, (as I'm sure plenty of people here have as well) and have found it to be quite challenging at times. I'd say that's it's never a good idea to mount a boom during production. Even in an interview situation the talent will most definitely move off pattern let alone a... Ps. If you need some stock ADR I can probably get it from my upstairs neighbor. Bwaahahaha. Good luck.
  15. Nice Fred! I'm relatively new to field recording (5 years) and came from a post background as well. I work mostly in Asia where there aren't as many sound pros so I've def been on plenty of gigs that are over my head. My best advice, if you're working with an experienced crew, is don't try to act like you know what you're doing if you don't and LEARN FAST. Good luck!
  16. Very Sexy bag Brian!
  17. Getting some ambient off the top of the HSBC building in Shanghai.
  18. I was recently working on a reality show in China. On the first day of shooting out of the blue my QRX froze. The screen went to pixels and I had to do a hard restart to get it working again. This continued to happen randomly throughout the day. It was really stressing me out. When the QRX locked down it cut all sound from the transmitters so it was a big issue. This had never happened to me before so I was at a loss, scrambling to try to figure out what was going on. I noticed that it happened again as soon as i engaged the transmit button on my in-ear walkie. I quickly restarted and tried to transmit again with the walkie close to my QRX. Sure enough it locked it down almost every time. I asked the AD if he could ask the crew to change the walks to another FQ which seemed to have helped. Watch out for walkies transmitting close to your QRXs though.
  19. SKP 300 G3. Have had issues with it though. Will upgrade soon. That's why I have the cable in there as well. ;-)
  20. I'm getting more and more (and more) people asking me to run sound straight into a 5D on low budget gigs. It's making me crazy. I always give them the same lecture which consists of blah blah..the 5D is not designed to be a film or ENG camera blah blah... and they almost always tell me about the "last guy" that they worked with who got them "great" sound in camera. I usually end up slapping an ERX on the thing just to make peace but I'm always worried that they'll use the in camera sound rather then syncing my recorded sound out of laziness and inexperience and that anyone who sees the film with think that I f@*#ed it up. How do you guys deal with this scenario?
  21. QRX is in block 25. The walkies were some Chinese knock-off brand that I've never heard of. I tried to figure out the FQ range for the walkies but it wasn't printed on the units and the tech staff wasn't any help. I contacted Zaxcom and they said: "I could try sending you some new software that changes how the synthesizer chip works." never got it though. My walkie was on my back belt but there were times that I was right on top of the camera guys because the location was pretty tight. I think there walkies were within 6" of the QRX when it went crazy. You have to be pretty close for it to cause a problem. On a film set i don't think it would be an issue but for ENG or reality where we tend to have to squeeze tight spaces pretty regularly, it's something to keep in mind.
  22. I like to keep things tight. I use the G3 for wireless boom. Too many people in China. I always end up filming in crazy crowded locations.
  23. Yeah, I can speak Mandarin now. Most of the foreigners who work in film and TV need to speak at least conversational level Chinese. Most local crews can't speak English.
  24. I'm a mixer living and working in Shanghai. I'm from GA originally. Been here for over 6 years now. Work seems to be picking up these last few years. Lots of US films shooting sequences here to try to be one of the 34 that screen in mainland. Air quality is a downer and it's a totally different standard when I compare working with UK/US crews compared to local Chinese. We're making it work though.
  25. Hi, really late reply but I'm based in Shanghai. Let me know if you need any future recording in China. You can check out my site mikeandmic.com