Npoberaj

I vote last channel, only because the C. Cable going from the mixer to the boom doesnt get in the way of the other xlr cables coming into the mixer, which makes it easier to boom. Saying that I am plugged into ch 1 on my 788, but only because I dont have a CC xlr to a mini xlr (TA3) that is ch 8 on the 788. But I havent really fund it much more difficult to boom anything so I think its just a personal preference to be honest, the way you learn early on. NP

Hi, I ll be in San Francisco from 1/1/10 to 1/10/10. I wont have any of my equipment with me but if you need a Utility or Boom op ill be happy to help. Thanks, Nejc Poberaj 301 221 8208

Hey, Just curious if you guys know of any big movies (3 mil +) coming to shoot in DC anytime soon? Being an ENG guy I would love to come on set and hang out with the sound mixer one day, check out his cart, maybe learn a thing or two? NP

Hey, Sundance is definitely a good time. If you are a skier or snowboarder its a great time to go because all the people are in town trying to see the movies and the stars so there is no lines on the slopes. Or at least that was my experience. Also I wasnt a big fan of all the happening bars and parties there, its was kinda like being in LA but its cold outside. I would try to go to the local places where no tourist would ever go into. Those were way more fun in my opinion. Nejc P

Ohh also Mike, I was definitely considering the beard idea but these guys like to rub their beards so didnt want to risk it. Nejc P

Thanks for the help guys! Ranger14 yes it is Season 2 of Duck Commander, interesting show to work on, especially now that I have pretty much fixed most of the sound issues I was having for the first 2 days. BVS that definitely sounds like a interesting contraption and I would also like to know more about it. Any chance you can post a picture? Thanks, Nejc P

Hairline not really since they all wear these hats, which is sorda where I have been putting the mics so far, but its not the best since I still get clothing noise every once in a while because they are not baseball hats, but more like this fat fuzzy beanies. Over the ear might be a good option, they all have really long hair though which might mess with the mic. Would you attach it with Topstick on the ear? Nejc P

Does anyone have any experience hiding lavs on Grizzly looking, long haired, big bearded, duck call neckless, heavy jacket wearing, duck hunters? I am doing this show where booming is really not an option. I have had some success hiding lavs in brim of hats but sometimes theres still a ton of clothing noise when they rub the hat or want to take it off to scratch their hair. I am really looking for a way to hide a mic somewhere on the body and not get any clothing noise. Using B6. Unfortunately there is no button holes to stick the mike out of, all zippers. Also is there a way to maybe set the gain structure so that the mic becomes less sensitive to clothing noise? (That might be a stupid question but worth a try) Lectro MM400C to Lectro 411 to 788T . Any advice is greatly appreciated. Thanks, NP

Hey Richard, You should have said to the girl " Come back to my place after the show, and I ll show you how big my boom pole gets" Hehehe. NP

I dont know about the NYFA year long programs and how they deal with sound, but when I took a 5 week film making program there. There was only one day dedicated to sound (Boom direct to camera) and our lighting teacher asked me if I could teach the class. I did! Cause to say the least he was no expert. NP

Thanks again Jim, And yes I actually just found that article about the EX1, with how to see the level markings. I think I need to go back to middle school to learn how to use the search field. Also just for fun, here is a interesting post on how to deal with prosumer cameras if you cant find the meter marks by Eric Lamontagne: Jumping in here, There's so many new little cameras and each one seems to have different level markings (or none at all!). I've gotten in the habit of initially setting my tone to full scale output and matching the input of the camera to full scale, then dialing down to -12 or -20dbfs. This ensures my audio headroom. Another way to skin the camera KAT without the manual. Good luck Eric Lamontagne Nejc P

Thanks Robert, Jim, Eric for your responses. Jim we should grab a beer sometime and talk audio? Any ways I guess my question wasnt very clear, Robert sorda answered closely. But let me try again. I know that on the Pro cameras you set tone to -20 on cameras, in which case its 0 on the 442, whose scale goes from -30 to 20 hence if you are at 20 on the mixer you will be at 0 on the camera, both which are their respective clipping levels. But on a camera like the EX1 which has no marking on its meters to begging with. Looking at the manual the camera clips at 12 instead of 0 like pro cameras. In which case because of the different scale on the camera, setting the EX1 to -20 would be incorrect, resulting in a level that is to low. But at the same time setting the camera level on 0, I also believe would be incorrect because that way the camera would clip way before the mixer does. So I think the camera level should be set somewhere between 0 and -20. How would I find this magic number? I am really sorry if I am being supper confusing, or this makes no sense, and I am just completely missing something. Nejc P

I have a feeling this might have been discussed here before, but I couldn't find it so here I go. As an example lets say you are using a 442 mixer going to a EX1 camera. The Mixer peaks at 20db, but the camera peaks at 12db. If you set your tone to 0db on the mixer and 0db on the camera, the camera audio will not mach to the mixer and will clip much earlier. At what db should the tone be set to on the camera to match correctly? And is there a formula to figure that out for other unmatched db situations? Nejc P

Hey Mick, I do mostly Reality ENG sound work(3-4 lavs, boom. 442, 744T set ups), and I was thinking of taking the sound class up in Main. I was wondering how involved or advanced does the class get? Do you think it would be worth my time going up there? Thanks, Nejc P

I had a similar problem when sending TC wireless from an HDX900 to the 744T using a lectro 200D receiver. I was hearing time code from the receiver but the TC wasnt working for some reason even when the time code seemed very loud out of the receiver head phone jack. I fixed the problem by turning the receiver output from Mid to High. Which makes me think that the 744T expects a very strong (loud) TC signal to work, in which case if you are connected by cable make sure it is not padded in any way? Just a thought. NP

Thanks for all the replies guys. But you were right BodD it sounded pretty much awesome through speakers and away from DT250's. Which I kinda figured it would, but you know you can never be to careful. (I am always thinking of how to do something better.) And Derek I use a SD 442 so that one is not to noisy but you are right I need to invest in some sound blankets. I did however end up covering the AC with a drape the DP had which helped a lot. Thanks everyone, Nejc P

I have recently been doing some fairly simple sit down interviews with a bunch of ladies, who's voice could not be any quieter. I ask them to talk louder if possible but my request falls on deaf ears. The room we have been using is also not very quiet, AC constantly on, traffic outside ect.. So my question is: What would be the optimal mic for a boom pole for something like that? Right now I am using B6 for lav and the Schopes CMIT 5U for the shotgun. I was thinking maybe a Schopes capsule like the MK4? Any advice would be great. Thanks, Nejc P

Thanks Rich. Its good to know how other people made it in.

Hi, my name is Nejc Poberaj I am a new member here. I have a question for all you pros. I have been doing full time freelance sound work for about two years now, and its been mostly ENG, Reality, Documentary type work. I am hoping to some day be able to work on commercials, union shows, movies. And I was curious how and if any of you have made the transition from TV to Film? Also can anyone explain to me how the Y-7a, Y-16 Ect... works? Or at least point me in a direction where all that union stuff is explained? I also dont mind starting from the beginning as a trainee so if anyone knows how to become one of those please share. Thanks.