michaela

In Moab recording sound for the press kit for 127 Hours.

Interesting. I think it depends on which kind of market you work in that influences whether or not producers look at your gear list. I have two separate requests for a 744, out of maybe 100+ gigs. And I always found it funny that those two producers asked for the gear, not because a 744 is good. Rather, it was the language they used.... "can we record on that.... uh, i think its a sound device... a recorder, no, they're called sound devices..." and you know that very moment that someone earlier told them a Sound Devices is the best and they're still thinking "yeah, i know a device for sound is what we need to record on." While I am not a huge fan of the zooms, I too have used them on several occasions. I used one on this 36 hr film fest (a great way to meet new people if you move and need to rebuild your network). Honestly, I expected much worse. But with my 422 and my neumann shotgun, it really sounded fine. Now, I can't say I did post with my own audio like I have with other recorders and the same mixer/shotgun but there was little noticeable difference while I was recording and booming on set... So i have to agree, it's a great little tool when used with a wealth of knowledge and some nice preamps in front. Still don't think I'll ever buy one... used a similar Tascam on another gig (same low budget situation) and I prefer it over the Zoom.

I had a director/dp say that to me two days ago. I looked at him and told him we're going to slate so there is no question in post. He didn't argue, although he did note that he was going to use PluralEyes, too.

How much of the FCC's new white space rules really affect us? It's hard to say exactly how... I'm looking for exactly what frequencies are affected... anyone seen a chart? http://arstechnica.com/tech-policy/news/2010/09/fcc-white-space-rules-inside-the-satanic-details.ars