Dave Pullmer

Aside from using the bra holder with non actors it's also been a good tool for those sweaty days where the tape just won't stick :/

10 hours ago, Derek H said:

Yeah try Stickies and overcovers. 

 

Dave, you don’t have any issues with the hide a mic clip coming off? Either falling off the bra or the Sanken falling out of the holder. I have a set but I’m not super confident in them yet. Also when certain fabrics touch the holder the noise is very sharp sometimes. 

Yea that has happened. To remedy that I just attach a small piece of moleskin around the bottom of the bra holder to the cos11 locking it down.

I've also had better success using it with the mount on the inside of the bra strap (facing the body), as opposed to just facing outwards. 

I've had great success with the hide a mic bra holder on non actors, it's real simple and there's never any miscommunication I find... it's turned into a staple in my kit for docs 

https://www.hideamic.com/product-page/bra-holder-black-cos11

Past that, perhaps something like a rycote stickie would be easier for them to just "stick" on the skin. There's less room for error - a non actor wont know exactly how a piece of moleskin or transpore should be applied without specific direction.

I've really been trying to not wear the harness whenever possible this year... so far so good! This is a foldable handtruck I've been using from home depot with a couple utility pouches for wiring kit etc... 

I wanted to start a discussion on "reading your clients". This may not be as important in sectors with relatively set rates such as union/commercial in my market, but surely applies to any negotiation we have.

Working as a omb on anything from doc/commercial/epk/corpo I've been constantly refining my questions to get the info I need so I can provide an educated quote for the job. Every little bit helps, and after each negotiation I try to think of items I may have missed or how I can improve.

Here are a few notes I try to keep on hand when gauging a potential job. Sometimes its all laid out clean and clear I find, but others require a bit more detective work... How do you approach this? Anything you would add?

- how many talking heads on camera?

- what/how many cameras are we shooting with?

- description of shoot/storyboards

- crew size? script/DIT/VTR/agency? camera dept size - 1st/2nd AC?

- how many comteks required?

- is this an in house production?
 or are you servicing for another co. ?

Was driving along today and heard a song that reminded me so much of Lou Reed - maybe it was one of his songs hidden in a late 80s or 90s album I hadn't heard before... turns out its a current band but hey, I'll take it!

https://youtu.be/liXRe7t7v2M

Cool - interesting build!

On commercials we hand out what I call a 'comtek buffet' for the folks at VV. As mentioned above I've found it very effective for people to know where to return their headsets (...where they found it!).

In the drama world there are a couple mixers in town that use the Bluetooth tracker app called tile. It's saved us a couple times, and allows you to name each gps chip you put in the ifb pouch. An extra expense, but we were happy to have it when the time came.

I'd recommend it, I went this route before upgrading to lectros and got through lots of gigs with them... you can use your G3s for camera hops later on and reterminate the cos11s when the time comes. Win win.

1 hour ago, Eric Toline said:

Irrelevant. Any 2 conductor shielded cable will work just fine.

Perfect, thanks.

On 03/02/2015 at 8:42 AM, Glen Trew said:

This is good advice. While Starquad has occasional but definite advantages for longish mic level signals (though rarely any advantage for short runs inside a bag or cart), it is not needed for line level signal, particularly with short runs associated with TA3 connections. Also, twisting the same colored wires together inside a TA connector greatly increases the chance of short circuits and faulty joints. By far the best wire for planning against likely problems for short TA connector cables (1-meter or so) is a small gauge shielded pair that fits well in the TA connector -- not Starquad.

I'm about to make a couple cables up for use as camera hops from a Sr receiver (TA3F - XLRM), and am curious if people commonly use mini star quad on their cam hop cables for the extra shielding it provides - or if this is an irrelevant consideration for an 18 inch cable...

3 hours ago, Freeheel said:

I used the supplied MKH suspension for a few years and found it worked pretty well. (in conjunction with the low end rolloff switch) My main issue with it was having to plug the boom cable straight into the mic and then wind it through the little cable holders.  Works fine for recording music or stationary interviews.  

When chasing action though, the cable would invariably get pulled out of the friction fittings, leaving the mic cable hanging directly off the back of the mic and unprotected from the noise of the cable hitting the boom pole.

I've been using a bongo tie for strain relief with the stock Sennheiser mount, pretty much in the same spot the rycote invision mount has it built in just to lock the xlr down. Other than that little mod I've had no issues with that mount...

On 15/11/2017 at 9:03 AM, Philip Perkins said:

 

I wire a lot of non-pro talent.  Bedside manner: friendly politeness, and a every task couched as a request.  Saying that "I need your help with this" seems to help.  With women I often ask them to stick the stickie on themselves in lav. position, having first said "I'm going to point out where", then pointing in a low key manner and then letting them do it.  And...some non-pros are just so nervous or wigged out by the scene that I don't wire them unless there is really no alternative...

With wiring non pro talent in docu situations, I've found the hide-a-mic 'bra holder' to be very well received by female subjects and has made for an even smoother wiring process as it's pretty simple to understand mic placement etc..

5 hours ago, Jan McL said:

 

That video was made at my request by the estimable PSM Paul Pouthier who thanks NYC PSM Tom Varga for the idea.

 

Glad it's getting around.

 

Thanks for sharing it!

Not my trick! But i was really happy to find that a while back myself - puts the cable at the perfect length for your ifb while booming/utility or mixing out of the bag. A small bit of extra weight on the cable but I don't mind it.

This is a good trick, I've done it to a few pairs of mine

On 09/11/2017 at 8:53 PM, Jason A said:

My simple answer is that ERXs have the best sound quality and the worst range Imo.

+1

Working as boom/utility I've used the ERXs mostly on commercials. We've been using a RF venue CP beam to hit set (director/script/erx's on camera), and have been remoting a L-com omni antenna right beside village.

For exteriors we've achieved up to 100 ft line of sight with the CP beam (though well always run a range test on the day). Range hasn't been as great with the omni so we'll generally not take any chances and get it as close to village as we can.

I've only encountered 1 issue with interference on the ERXs - couldn't pinpoint the source but we changed frequencies on the ERXs and no problems after that. Hope that helps.

Past the ERXs I've definitely found the lectro R1a's to be the most rocksolid of the bunch.

On 16/10/2017 at 1:35 PM, Mirror said:

 

I agree...calling yourself a soundie is pretty faggy...  Please have some respect for yourself.

 

...and for all you snowflakes, I don't mean faggy in the gay way... it's meant in the douche' way.  You know, like in South Park.

Inappropriate. 

20 minutes ago, alenK said:

Hi Max,

 Where did you get the C-Stand holding brackets?

 

 Thank you.

Quickfists - you can find em on amazon

I've been thinking of going down this route for a simple omb cart that would allow me to cut down on harness/bag wearing time, and hold my poles/cases when on the move.

How have you been liking this set up? Anything you would change if you had to do it again?

Despite this odd interview I really enjoyed the movie! On top of directing, one of the bros also played a lead role in the film. I'm curious if it was a OMB doing sound on set - don't think I saw a boom op credit in there

I'd push to rent COS11s wired for G3s from a local rental house. For $10-15/day you'll be a happy camper!

On 06/06/2011 at 10:17 AM, ProSound said:

I have a Lowel light stand similar to a Arri KS stand works fine for most things light weight and cheap. I have had it for 5 years. I do have a full black C-Stand but only bring that with me if we are doing something that is a very wide interview shot and we don't have a grip department. I would say I only use it once or twice a year link for KS stand is below

http://www.bhphotovideo.com/c/product/31879-REG/Lowel_DT_33_DT_33_KS_Jr_Light.html

Recently picked up this stand for a few travel gigs and its been working great. Been hanging my backpack off it with a carabiner and its been very solid. Thanks for the recommendation! 

57 minutes ago, Philip Perkins said:

In some cases I just figure we aren't going to be able to use any sticky-type solutions--the mic has to have some kind of vamp or pin or be taped to clothing instead of sweaty skin......

+1

It's been getting hot up here, and when the skin or clothing gets soaked through a few non tape solutions can definitely save the day. Chest straps, and the hide a mic bra holder have worked well. For moderate heat i find iso prop and transpore are able to handle most situations. 

1 hour ago, Gerard-NYNY said:

fake it. set off a piece of smoke cookie to simulate steam and spritz the talent with a sprayer bottle of water.

 

Haha! Now there's an idea.

56 minutes ago, Philip Perkins said:

Try the 416 and back yourself up with a dynamic on another channel. 

Yea, I think I may try a stereo pair of sm58s should the occasion arise.