jason porter

Dave, You shouldn't mis-lead newbies like that, shame on you! Jeff, craigslist is a great place to gain valuable experience. You should consider working for credit/lunch (read: FREE) to get your "foot in the door" of those big time TV producers! They will use you on the next paying gig -Jason (I love shoveling shit first thing in the morning )

If it isn't too much work, I think this would be a great idea!

excellent! Thanks -Jason

Hi, Does anyone know what the 12V power connector of the Stereoline Tx is ? thanks -Jason

IMO, concerning how the final project is "heard"... we hear the rubbing noise through a set of pretty high quality cans, very close up and without any (or very little) ambient noise. The geneal public listen to it through a TV speaker, or crappy home-theatre or even through a fairly decent home-theatre (like my own), not to mention post production and broadcast hocus-pocus! These systems just don't recreate what we hear/record, so the rubbing noise usually doesn't cut through, in many cases. Of course, you still have to do your best to eliminate it. -Jason

I agree with the your opinion of the older 190's. It sounds OK, but the bottom mounted antenna is a pain. More than anything, iT just gets in the way! -Jason

I've always bobby-pinned it center forehead at the hairline, ran the cable down the back and secured it with Transpore at the neck, leaving a little slack for head movements. -JP

Hi Brett, If you are using the COS-11 on a tie, it is the easiest mounting ever! Put the mic in the tie knot from the top (so the windscreen is pointing to his feet), then run the cable down through the shirt OR under the collar and down the back of the shirt (if a jacket is being worn) I do this alot and rarely have any trouble with rubbing. Another way that is by far the best, is in the hairline (although this usually requires hair!) and hopefully a makeup/hairstylist. Goodluck, -Jason

Drop me an email if you have one for sale! Thanks -Jason

I found this, Rycote CCA (see pic) It looks like it may work well with the Rycote suspension. I'll have to test it out. The idea is to record stereo ambience on Ch 3/4 of an HDCAM (F900R) and keep Ch 1/2 for dialogue, etc. Is this overkill? Would it be any better (in terms of camera noise) than the supplied stereo mic? I can only assume, that with proper isolation, it would work very well and maintaining the stereo image in "sync" with pix would be fool-proof. Any thoughts? We are using the CSS-5's because they are available...if we could rent 3 single-barrel-stereo-shotgun mics, that may be a better solution. They just don't seem to be in anyones rental stock! Thanks everyone -Jason

What about voice recognition software integrated into the DEVA, Cantar, 744T etc? Wouldn't it be nice to slate the take/scene and have the metadata fill in automatically... If it worked, I think it would be the most efficient. (and could even be implemented for us over-the-shoulder guys who can't type and run) -Jason

Hi, Has anyone seen any innovative technology that would allow me to mount a CSS-5 on an HDCAM? I am looking at the K-Tek K-BWS, and it seems to be the best solution, but the only suspension that I can find is the Rycote. Any other smaller, or more compact options? The big concern is camera-operator complaints (mostly handheld shooting in tight quarters) -Jason

I think the idea of having a backup machine on the truck is a good one. It doesn't have to be the biggest or most expensive, but it should be able to "get you by" until the busted-up machine can be replaced. -Jason

Thanks Glen, Are you saying it is reasonable to use it on a boom, run-n-gun, in normal stereo mode? My other possible option, would be to add the Ambient Emesser to my current Schoeps setup (to get an actual M/S soundfield) Thanks -Jason

Hi everyone, Anyone here used the CSS-5? I am using it on a project (supplied by the production company) and I was wondering if it is suitable as a replacement for a typical mono boom-mic. -Jason

Excellent CART! FWIW, I love seeing nice big, clear pics. The thing I like most about your rig, it is not overcomplicated. Some guys strive for the ultimate in flexibility, but in my experience...that just leads to over-complex carts/rigs. As far as breaking new ground into non-linear...the SD recorders (702T & 744T) or a DEVA would fit nicely in the place of your PortaDat, without any "hacking"! -Jason

If you want to run a backup (that you aren't being paid for) that's OK, as long as it suits your needs and budget. In your scenario, I'd run either a split from the 302's outs or the Tapeout to a "cost-effective, non-linear, non-TC" recorder. Possibly a laptop, Microtrack, FR-2 or even a DVCam!.

Being mainly a "sound for video" guy, I rarely have the need for a high quality external recorder. The other day I found myself on a 35mm film shoot for a potato chip commercial (actually, a "fake" commercial for corporate use only), hopefully it will show up on YouTube. The director asked me how I would like to record sound (DAT, Nagra etc) I suggested a few non-linear devices and we ended up getting a 702T because all of the DAT machines were out on rental (or otherwise unavailable) Luckily (but unnecessary), for my peace of mind...I had the machine the night before the shoot to get familiar with it. The pros at Trew Audio set up the machine for me before it was picked up, so all I had to do was power it up and press REC. I chose to bypass my mixer and plug my Schoeps directly into the 702T (I was booming and recording) took a quick level check and off I went. SO EASY! The only thing I didn't like was the included battery system. The recessed release button is a pain, and the battery had to be changed 3 times in a 9 hour day. Obviously, an external battery system would solve everything. A 4 GB CF card was delivered to the transfer house, about 600 MB of space was used for the whole day, 2 track mono. I can't say enough about how simple yet powerful this machine is.

When (if) it starts to cost more MONEY, until then...things will keep-on keepin'-on!

In my opinion...the way to deal with "quiet talkers" is to throw a lav on them. You will get the best "signal-to-ambient-noise-ratio" possible. They may not sound quite as good as the boom, but the background noise should be diminished significantly. Getting the the mic closer to the source is the ONLY guaranteed way to reduce the ambient sound (when sounds can't be eliminated physically/mechanically) And for the record...you will NEVER get the interviewee to speak louder. The first few words, YES, the first sentence, probably, by the second question...the soft talker will have returned As the soundmixer, you need to tell the "producer" that the ambient sound is too loud and you can't hear the interviewee. Suggest a slight change of location, even turning the interviewee's back to the offending sound can help tremendously. Put the ball in their court, if they say it is OK, then it is OK! Sleep well at night, don't worry about it.

where are his headphones? Great pics Oleg. -JP

I just upgraded to 2.0 and that fixed it! Thanks Scott. Thanks everyone! -JP

Hi Jeff, I have always visited your site using Firefox, but now, the site will not load. It will load with IE...but I loathe IE Have you made any recent changes? or is it a problem at my end of the network? Thanks -JP

Dave, Typically in Toronto, we include 2 RF's in the basic package ($450-$500/day) You can add the other 2 RF's to that ($50-$100/day, depending on brand/model) If I were doing this job, I would be charging $650+, and add any extras that they request to this. A backup recorder is virtually unheard of for video, they probably won't pay for it. Research the company, maybe others have been burned by them. Try to get a deal memo or contract of some kind for your protection.

I love those little surprises in life! -Cash in an old jacket pocket -A peanut M&M that's chocolate all the way through -a PERFECT cup of coffee (always a gamble) -a quiet shoot location -no clothing rustle -finding out you have the day off!