Dutch

Nice chart Tyler! Sennheiser did add another block to the G3 line: A1 470-516MHz

That's a prototype Boom Operator paratrooper survival kit, I was on the Beta team. The cable operated clamp setup was really handy. It enables the boom operator to launch the clamp in the event the 2nd AC drops the slate. It's a little tricky to get the hang of at first.

We used the MM1 this summer and it was fantastic. Excellent limiters, clean signal, and was adjustable for me on the fly. Give me a shout when you're doing a project in the states as I'd be honored to boom for you RPSharman. I respect the way you communicate and the standards of excellence you strive for.

+1 to Jay and John! Every time I read a post like this it makes me cringe. Bottom line is your final product will only be as good as its sound, not the picture. The people who are or will be successful know this already. I get work from film school students who want to ace their final projects. Even they understand there's no shortcuts or simple tricks with sound. It's a craft that takes years to learn and a lifetime to master.

Quick follow up on the AT4073a and how it performed. Firstly, the microphone was near immaculate and deserved the 9+ used rating on BH. As far as actual usage impressions; it's exactly what I bought it for. Much brighter sounding than my current NTG-2 backup/plant mic. Much better reach too which was why I was interested in it. Off axis rejection was fair at best. It's not ever to be compared to the MKH-416 for dialog. Not in the same league by a wide margin. At less than $300 w/tax for a high quality used AT4073a, it was worth the investment, and the sound was exactly as expected.

Great tool! Was a tough pill to swallow when there's so many other things I still want to buy. But after it's maiden voyage on a short film project using an FS7 I'm glad that I bought the TS3EL. Most of the projects I'm doing are micro budgets and just out of film school type productions so I try to help provide a simple workflow with every type of camera imaginable. Using the 633 as the master TC and the slate as a slave worked well with the FS7 (Recorder-Slate-Camera). Nice feature that the Deneke TS3 can both accept a jam as well as feed a TC. Next I will worry about lockits and drift but as long as I've got solid TC on my sound files and a matching visual reference for them to sync, all is good. At this stage at least!

Jake, have you called all the local pawn shops? If it was a grab for quick cash that's where an item like a slate could potentially go. Most jurisdictions have designated hold times before selling goods. People who are diligent and can prove ownership get their items back. Check craigslist too! Hope you get your slate back, and the same for the guy who had his mixer stolen, that sucks!

Some great advice above for anyone who really takes the craft of booming seriously. RPSharman mentioned previously that frame-line is only one of the factors. Sometimes close is too close so use your ears and judge each situation by the picture being created. Always give the DP their creative space when hand held and use peripheral vision to mirror their movements. By the same token, don't ever distract an actor with your microphone on extreme close-ups. They have a creative space which is what we're all trying to capture. Don't let the occasional grumps take you off your game. But there's a lot to learn before you can earn their respect after the first couple of days. To me, "Boom Operator" is the best job on set, so enjoy your opportunity!

Yeah, getting ready for the cold and snow. Starting on one of those "microscopic" budget films next week. Nice time of the year to film here! But yes, in January I won't be able to feel my fingers and the wind will be rocking. Love those velour ear pads!

With all due respect, RPSharman, we'd welcome more "modest" budget films like this in our area. Buffalo has fantastic locations and a solid talent pool. So "ehoff" if you're serious contact the Buffalo Film Office, there's a 40% credit, and they'll roll out the red carpet. A good mixer, gear, and experienced boom op would cost 15k and you'd get nearly half of it back through tax credits.

While I'm not in the league of Mr. Wielage and Mr. Perkins, I've faced your same dilemma. Unfortunately there's really no cheap way in for professional work. But with all the real low budget films not willing to pay even $200 a day for a real good boom op I had to make the jump and gained my first solo mixing experience using these tools (and they may work for you too as the sound quality is excellent): Used Sound Devices 302 mixer and bag- $1000 Rock solid little mixer w/fantastic limiters that can be your backup when you expand Tascam DR-40 Recorder- $150 Laugh all you want but 5 mixers worked one episode of THN and they used most of my recordings Petrol Harness- $150 Sucks, bad design, had to make mods Sennheiser MKH-416 $1000 Buy new, lots of fakes out there on ebay (a mixer I knew got burned) K-Tek Aluminum 12ft Boom Pole- $225 Good starter boom but you'll need a good graphite one later (we could talk all day on this subject) Rycote Shock Mount and Dead Cat- $125 Acceptable but there's better Canare Cables, bunch of different sizes- $300 Buy good cables and they last many years of rough shoots Misc Lav prep tools, topstick, moleskin, tapes, etc- $30 Must have's Sennheiser HD-350 Pro Headphones (already owned them) Love them, sound great and comfortable for 12-14 hour days Rode NTG-2 (already owned from when I did video work) Not great but serves as a backup, plant mic, and can be battery powered Wireless- I rented Lectrosonic 411's with Trams when I needed them. Cos-11's sound great but I've boomed several films where that thin wire gave us troubles. Certainly not knocking a great sounding mic but low budget films/projects, lesser experienced actors, are tough on mic wires even if you safety loop both ends for strain relief. Not sure how these professional's view my advice but I agree with everything they've stated to you!

Cool and thanks for your response. Can't wait to get over to NZ someday, my dad really loved his trips there. Look me up if you ever get to this side of the pond!

Wow, now I feel like crap! I wouldn't have bought it had I known, Seriously! Leave me your contact info and I will sell it to you for the price I paid after this outing with my son. If it wasn't for you bringing up the topic and reading what the experts here said I wouldn't have bought it.

Good timing bringing back this old thread, thanks! I'm shooting video of my son's first hunting experience as the Department of Environmental Conservation has a youth pheasant hunt coming up. As a sound guy I really wanted good audio but didn't want to use the 416 as it's my "go to" professional mic and want to keep it pristine. Figured I'd convince the dog handler to let me wire him up so I will have that audio along with the AT4073a which sounds like it will work decent camera mounted (actually on an aux handle mount 8 inches to the right of camera). Just bought a grade 9 used from BH for $260 and even if it's mediocre for this application it will make a nice backup boom mic just as "afewmoreyears" kept it for.

Found a nice little wired usb keyboard that fits in the bag with the 633. Seems well built but the cable is thin. You might like as well: https://www.bhphotovideo.com/c/product/823913-REG/Solidtek_KBP3100SU_Mini_77_Key_Keyboard.html It was a stock item and I see it's special order now. Maybe i bought the last one in stock? Sorry Mr. Gilchrist! I just noticed you had already recommended the same keyboard, just different color.

Just wanted to share a positive experience with the Wisy's getting wet. An actress forgot about the transmitter and accidentally dropped it in the toilet. The mixer quickly obtained a hair dryer from makeup and dried it with the battery door open. No problems during the rest of the film and he never had to replace the unit later either. I was impressed with their build quality after being submerged.

First comment, but long time viewer on this site. Just wanted to thank everyone in this community for the experiences and knowledge you share. Having only worked on a half dozen indie features as a Boom Op and small jobs as a Mixer there is little I can share compared to 99% on here, so I just listen/read. But this story inspired me to share a bit of what I've experienced because there's a disturbing trend that follows the weakening of overall union strength in all areas of work. Just as Abe said in his post above about appreciating the union's effects even though he's not a member; I agree wholeheartedly and am very thankful too. I think we'd all agree that there is a place for non-union work too since it would be nearly impossible to create any sub-million dollar film with union labor. To me, this (indie films) is the perfect place to gain an understanding of what it takes to become a professional in the business. Unfortunately, nearly half of the films I've worked on have been quite abusive to varying degrees. Sometimes it's working conditions, like giving the crew no other option but to continually eat meals outside in the rain on 50 degree days because only the talent (as well as Producers and Director) had a tent with heaters. That same film had me continually overhearing the UPM telling the Producer how he cut corners to save pennies and her almost evil giddy responses of giggling encouragement. A low budget horror film so I guess that fits the genre. But what gets me most is that any contract can be written which circumvents minimum wage requirements. It bothers me most in situations where the film is receiving state tax credit reimbursement subsidies. Shouldn't minimum wage and overtime be a requirement when applying for a taxpayer paid subsidy? I don't have an issue with unpaid interns who have no contractual obligation. Often though they're forced to be used and abused or risk being black-balled from future work opportunities in small markets such as mine. The other trend that's disturbing relates to the staffing of TV news. What was once done by three is now being done by one. Is it really safe to send news reporters out on assignment alone? All the while we see the CEO's of these media conglomerates grow exponentially upward while the lower rungs of the ladder continues to drop. To me it's a disturbing trend within this industry and across many industries/businesses throughout our country. Thanks "Wandering Ear" for sharing this article and also to everyone who contributed their thoughts in this thread. There are many great people here that I admire/respect. We may not get many accolades as "Sound People", but deep inside we know what drives the success of any visual presentation.