Michael P Clark

Almost complete. 8020 messed up the handle attachments. New ones coming soon. Also need to redesign the wheel base. I went with the 1.5" 8020 because I wanted a larger bolt size for the wheels. Unfortunately that was still too small. So I designed a plate, but the wheels are now recessed, and somewhat unstable. Workable, but it can be better. I love the look and functionality and all in all it turned out great. (null)

Is there by chance you have a serial number cutoff you could post to see if ours was made after April 15? I bought mine after that date, but not sure if it was built then. Thanks

I'd also like to add, the MKH50 is going to shine a lot better then the CS3, which can be modded to CS3e.

It's been so long since I did the research on this microphone, but I believe the "e" is for an increased bass response from the CS3. The "e" standing for "emphasis". Not a noise floor issue.

I also used the plastic caps to fill table holes with. The zip tie is brilliant, wish I thought of that with mine.

It wasn't too difficult. Had to build from bottom center up. Had a few moments of take apart and rebuild from forgetting to slip in some T-nuts before closing in the ends for pieces that got added later. Biggest gotcha was to not tighten everything right away. Made getting other pieces in on same angle in impossible.

Thanks guys. Cujo, what you can't see is that there's 4 drawer areas. But keeping that detail secret until the final pieces arrive and final pics go up. I think you'll like it.

Framework is complete, now waiting for custom pieces and it will be complete. I've already seen some redesign elements for version 2. But that will have to be a few years down the road as this has been a pretty penny to come up with, with all the custom pieces, not pictured. (null)

Jan an Eric, it will be great to meet you two in person! I think it's great that you're making the trip just for this.

Adam, that looks great. What did you do about the wheels? My over engineering didn't like using 5/8 bolts max to attach them. I designed a plate to affix mine.

I had access to 3D paper that I drew my cart on. 3D paper being graph paper but with 45 degrees lines as well. So you can draw with depth. Not sure if that makes sense. But it gave a great view of the cart. I copied that drawing several times and used a separate drawing for each element. Inserts, anchors, slot nuts, dimensions. I think I ended up with about 30 different drawings. Well worth it. I tried the Google Sketch, but I could draw faster, and the paper really helped.

Not cheap!! I'll have a better number for you when everything is here. Still waitin for drawers, customs drawers, and custom handles, LED light, hooks, etc. As most custom pieces go, you'll pay for it. I over engineered this to withstand the rigors of my set. I didn't want it to rattle apart. But putting some of these pieces together so far, I realize I could've saved some money with going with single anchors vs double anchors, in places. But that's pretty marginal in the grand scheme of things. These pieces really do hold on tight and sturdy. Could've also gone with the 1010 vs the 1515, with the amount of structure I have built in. But it was suggested by several vets in the business to go with the 1515. If I build again, I'm definatley going with 1010. I'll save weight and money. When you buy from these guys they charge a lot for counterbores, tapping, and notch services. I could've done the tapping, but I figured I might a well just have them do it, since I already had them doing counterbores that I was not comfortable doing. I'll soon know if the over engineering was beneficial. Picking up the pieces, these things are not light!!

Thanks, this has been a year in the making. Design, redesign, waffling, redesigning, second guessing, and finally pulling the trigger. With so many pieces, I had to letter them. Alas, 80/20 cut one major piece 1/2" too small. So the building has come to a screaching halt!! It will give me time to draw and get the custom pieces built. Oh well. You'll see the progress soon enough. Dang!

The build begins!! Wish me luck... (null)

Chris, surely you had to provide some sort of program feed to the Director, and or Script Supervisor. When you had to employ more mics than one boom, did you tend to feed them the boom, or a "mix" of your channels, perhaps from your switch box? Or did that side of our requirments(Comteks, IFB, etc) come later in the game?

This has all been a great read. Thanks everyone that has contributed, especially Chris Newman. I hope the rest of your career as a teacher is comfortable, and that your students realize what a treasure they have in front of them. I had always had the feeling that sound mixing for film was easier to do back in the day. With typically one camera, bad wireless forcing boom perspective, and such. But discussions like this shows that their were still many challenges to overcome, and having a top notch crew is paramount to achieving successful tracks. And the key element was and still is the boom operator. One thing that is evident, is that today's workflow of 2-3 cameras, ensemble casts, crazy camera angles and shot choices with 3 cameras, we must provide a mix track. Couldn't get away with ISO's only. Thankfully we have better tools than you pioneers did, to accomplish it. Post for my shows always are happy when they don't have to dig into ISO's and fix anything. Episodic TV still and will always want a great MIX track. Mix on brothers and sisters!

Hello Chris and welcome. I enjoyed the article very much, and thanks for talking again about your workflow and approach to mixing some of the top movies I have ever seen. The Godfather has been my #1 movie ever since I first saw it. I think I'm going to back and watch and listen again. What were some of the mics you were using back then, especially for "The Godfather"? I do remember thinking that the challenges with earlier mics had to be harder when hiding then they are today, and that with today's mics some of these scenes would still be challenging. Can you comment on any techniques employed then when hiding mics in those wardrobes? Again, thanks for joining!

Thanks everyone, Simons explanation really makes sense in why and how one at that time needed to attack the recording process. When I first used a Deva II, and then 744t, I was always wishing for more tracks. Mix, Boom, and two wires was very limiting. Thankfully, the show I was one was not a heavy talent show, and when needed, I would dump the boom, which was just an atmosphere tool. But I also HAD to mix and get it right. Great practice and has paid off well with what I do now. Again, love the historical take on this article.

Thanks Jeff. I agree completely. Chris does mention in a previous question, that on The Godfather, The French Connection and The Exorcist, he "created multi-tracks by running two tape recorders simultaneously....driving back and forth to the Nagra factory so they could keep making adjustments to our new four-track recorders". My assumption is, that this was so new that ISO's had to be all he could do. Could be wrong in this assumption, also. Love hearing the historical aspects of film making, and its challenges, and this is why I bring all this up. Curiosity. Later, in the answer to the question posed in the original post here, Chris admits that "as time went on, the demands of the industry were such that a production mix was a requirement for the job. I fought it until I retired, sometimes successfully, sometimes not."

No, not a resurrection of an old topic. Have you read the questions asked?? Over a 40 year career, I'm willing to bet Chris used many recorders in his career. Please re-read, thanks!

Senator, are you referring to Christian Bale? That was Terminator, not Batman, and I believe it was determined to have leaked from post, not Mark Ulano and his backups.

When asked "How do you feel about the new digital technology?", he responded with "I think it's strength lies in the ability to multi-track. I prefer to not provide a "production" mix on my shows. I preferred to monitor a sum of all mics and then let the transfer man do the dailies mix in the transfer room" This struck me as very odd. There is one person I have worked for that still does this and it has always bewildered me. Was this common back in the day? Do you suppose all tracks were ISO's and there was no "mix" track, and Chris just monitored this way? I cant imagine this takes place much anymore. That is some heavy pressure on the mixers shoulders to let someone else "mix" the scene. Clearly, Chris is legendary, and has worked on many of my favorite films, so no disrespect in his direction. That just really stood out to me. (null)

^^^never seen this, nor heard of this.

I have never been asked to discount on some weekly rate. Episodic TV and Features are $500/day, for everyday you work the gear. Keep it that way, and people in your market will be happy. We are pennies compared to grip/electric an camera rentals. Don't let them shift the 1-3 day weekly rate rental those departments offer onto us.

Eddie Lacy, Steve....Eddie Lacy! Lets get a running game going! And they definitely helped Clay with Dante Jones. Bring on the season! Packer Owner (null)