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Nick Flowers

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About Nick Flowers

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  • Location
    West Sussex, UK.
  • About
    A varied career! Started off at BBC News at Alexandra Palace, then freelance working on BBC Nationwide, then features working with Peter Handford, then staff recordist for Southern Television and TVS, then freelance again. Now clapped out and otiose.
  • Interested in Sound for Picture
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  1. Just listened to this. It gave me much pleasure to hear the music and to see the microphones. Fairest isle, all isles excelling, Seat of pleasure and of love. Venus here will choose her dwelling, And forsake her Cyprian grove. Cupid from his fav'rite nation Care and envy will remove; Jealousy that poisons passion, And despair that dies for love. Gentle murmurs, sweet complaining, Sighs that blow the fire of love, Soft repulses, kind disdaining, Shall be all the pains you prove. Every swain shall pay his duty, Grateful every man shall prove; And as these excel in beauty, Those shall be renown'd for love.
  2. Keith's response to Philip's comments: The position of the clamp was worked out right at the beginning in 2002 and it was decided to put the clamp so that the weight of the boom being heavier at the front, would tighten the clamp rather than loosen it irrespective of whether it was on the left or the right. Also the clamp has a reinforced fibre/rubber washer which interacts with the ridges within the circular base forming something like a click stop mechanism. The boom stays within the cradle without the need to have a clamp to keep it in place and simply holding it when repositioning the boom is adequate. He obviously looked at the pics and thinks the handle will come loose. It’s the cradle which has a square hole for the clamping bolt and the washer is fixed to it so if anything would move it would be the cradle thus tightening!
  3. Thanks Philip. I will pass these suggestions onto the manufacturer. Nick.
  4. These items, made by my friend Keith in Wales, may be of interest. http://www.boom-buddy.com/
  5. Absolutely right! But I am also reminded of a comment I once heard uttered by a sound mixer: "Well, this shot's impossible: what's next?"
  6. Do you not think that what you are used to plays a role in this? I used DT48s throughout my 'career' in recording sound, but I am very willing to concede that there are much better options available now. But if I were to start work again I would certainly opt for DT48s as they are what I was accustomed to and maybe there is a circuit in my head that compensates for their inadequacies. Just a thought.
  7. Ah, Jim, you touch on a subject that causes me great irritation. That cat squalling was needless to say added in post and I got quite riled about it. But...I was a freelance, and the dubbing mixer and editor were both BBC staff, so apart from telling the director that he was a c**t, that was little I could do. If I had my way their heads would be on spikes at Tower Hill.
  8. A friend of mine interested in maritime affairs has sent me this link https://gcaptain.com/safety-concerns-for-hybrid-electric-ships/ When I was working, I powered my equipment off Lithium Ion batteries and even then (over ten years ago) there were severe restrictions on taking such batteries on aircraft. Do recordists still use Li Ion batteries for location recording - and have there been any nasty incidents using them?
  9. I shot this with for BBC Nationwide in the mid 1970s with a Audio radiomic.
  10. It is with great sadness that I report the passing away of Rene Borisewitz last week. Rene was Simon Kaye's maintenance engineer for many feature films until he became a successful sound mixer in his own right. He gave me a place on my first feature film. He is survived by his wife Ulla. His cremation service is on Saturday 5th October 2019 at 10.45 at the Golders Green Crematorium (West Chapel) [Hoop Lane, Golders Green, NW11 7NL] and there will be be a celebration of Rene's life afterwards at The Old Bull & Bush, North End Road NW3 7HE from 12:15.
  11. Many years ago I worked with a mixer who was of an experimental frame of mind. Somewhere he got a plastic parabolic reflector, about eight inches in diameter, pushed a 416 through the hole in the centre and focused it by eye to a point behind the slots to see what would happen, the theory being that it would reflect the sound waves back into the slot in front of the capsule. Well, THAT didn't work!
  12. I have just finished watching the film Joseph Andrews on YouTube. It was shot in Southern Britain during a very long, hot summer of 1976 and I was 3rd Man on the sound crew. Lady Booby (Anne-Margaret)'s final line was a reversion to her character's low origins (for the rest of the film she spoke in a curious mixture of bad posh English and faux-French) and for accuracy the director (Tony Richardson) insisted that this line be very authentic. The line was "What f***king next?" and who better to advise on the correct, Cockney way of pronouncing this than the electricians? For about half an hour the sparks clustered around Anne-Margaret coaching her on the correct rhythm, slurring and intonation so that she would pass unremarked in Bethnal Green. I remain unconvinced.
  13. For what it is worth, probably 0, this is the way I went. First step was to answer an advertisement, for a tea boy in a little film production company, in the Evening Standard, one of the evening papers produced in London. Got the job making tea, sitting in for the switch board operator at lunchtime, running errands and any odd jobs. Any spare time I spent looking over the shoulders of the editors and the sound mixer. The camera boys were usually out on location, so at that point I couldn't see that side of it. After a couple of years of making tea (and coffee; there was no end to my skill) I was allowed out on location to see what was going on there. By this point I had decided that sound was to be the path I followed and so I had my eye open for opportunities elsewhere, as there would be no vacancies in-house where I was for the foreseeable future. I became aware of holiday relief work at the BBC, where in theory you stood in for someone on leave. I attended an interview at Ealing, where the BBC Film Department had its HQ and was successful in getting the job. I was NOT part of BBC staff. To be so was an exalted position and the technical grades went on a long course at Evesham to be made au fait with the highest standards. I was a filler-in of vacancies who could be got rid of very quickly. After a week operating machines at Ealing my place of work was changed to Alexandra Palace, in North East London, where BBC News had its base. I spent about two years there and I have to say that it was the happiest time of my life, making state of the art 1930s machinery work in the transfer suite and the dubbing theatre. But I became greedy, and I thought that after this time I ought to be considered for being made a staff member, not just a holiday relief technician. This was a step too far, I was told; and so I resigned in a fit of petulance. This forced me to seek free-lance work and I was successful in doing so, working for BBC and ITV as well as on documentaries and feature films. The more I worked the more contacts I made so things slowly got better and better. Just a footnote added later. I found cold calling to be unspeakably difficult - but it was and is an essential part of finding work before you have established yourself. Striking the right balance between being useful and pushy is essential too - try if you can to imagine what sort of assistant YOU would like to have. Cold calling I think was the most difficult part of finding work, but the amount of horror you experience in doing it will vary according to your personality. It has to be done, worse luck.
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