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RunAndGun

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    NC
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    Freelance Cameraman
  • Interested in Sound for Picture
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  1. I can't answer that specifically, but I know that with the 822, you can operate one channel digital hybrid and the other full digital, if you need to. But of course, there is a time delay difference between the two systems(digital hybrid vs. full digital). I believe it's listed in the manual or spec sheets on-line.
  2. In my neck of the woods, you aren't going to find many audio guys(and gals) for less (or much less) than $1,000/day(10hrs) with a basic package(mixer, boom and 2x wires), with labor starting at $750. When work started to pick back up in the second half of 2020, that's when I noticed the audio rates going up and everyone sticking to their guns on it, more. I admire audio. Y'all seem to stick together on rates way more than what happens on the camera side, where too many guys will cut their own mothers throats to get the shoot. Honestly, that should be elementary to almost anyone on the camera or audio side. But maybe I just take for granted that I actually know about audio, possibly because of my ENG background.
  3. We did a similar shoot for a network piece(not live): 11 subjects(2 being the hosts), 5 cameras. Everyone was lav’d(ISO’s recorded in mixer, 2 ch mix sent to cams, everything TC’d). This is the way. Not enough time to mic everyone is not your problem. It’s the productions and they need to make time, if they care about audio and what is being said. Also, you should have an A2 to help mic everyone, etc.
  4. I've seen a handful of 633's with issues, lately, including the unit freezing up with the screen going screwy(requiring a hard reset) and sections/ends of recordings disappearing. A little on the disconcerting side, especially as how this is still such a widespread, workhorse unit.
  5. This "philosophy" has become more and more prevalent over the last several years, as many audio guys now can't see past the noses on their faces, especially the ones that only seem to live in the narrative or commercial world. There are situations and market segments where the audio being sent to camera is the "hero" audio and has to be 100% usable, not just a low quality mono scratch track, because there is no time to sync the iso files. There's a reason that Lectro makes an entire stereo system designated 'Digital Camera Hop'. They understand that some productions have to have quality, air-able audio sent to and recorded in the camera. Is this how every production is done? No, of course not. But then again, neither is how narrative and commercials are done, either. I guess this is just a long winded way of saying, that we all need to realize that there is more than one way to skin a cat and sometimes it has to be done one way and sometimes it has to be done another.
  6. And subtitles are not the answer. The whole point of a movie or show is to watch it. To see the environment, the actors, everything. If you are busy reading the subtitles, you've just missed everything you were supposed to see. Especially with the break-neck pace that everything is edited at, today. As they said in the article, you might as well read the book, if you're going to have to rely on subtitles.
  7. I don’t do narrative, but down here in the south, it’s rare to “mask up”, anymore. Even when it’s on call sheets, it’s just on there mostly for dog ‘n pony. The last time I tested and had to mask was about a month ago for a real estate show, but they are based in CA and have been crazy about Covid protocols since the get-go(testing is actually stricter, now). Their editors actually screen the footage for the sole purpose of catching crew that may not be masked. The vast majority of people that I work with and are friends with are vax’d and boosted, but I still see people losing work, because they refuse to get vax’d or sign waivers. I even know a guy that not only refuses to get vax’d, but has on numerous occasions refused to even get tested so that he could work.
  8. It can be done. Back just before covid, we did a four or five camera round table style shoot, and one of my A guys did 11 channels, using SR's on whips(maybe a 411A or two, too), out of two bags. Amazingly enough, there was not a single hit, drop-out or other audio problem. I'm sure there was more than one prayer said... I just wish it had gone as smoothly for us on the camera side.
  9. I still have a couple block 26 hops and there have been times that they are better than my A1 hops. I don’t use them in coordinated venues (for obvious reasons) and I have zero concern of “getting caught” using them. If I did, I would immediately go to a convenient store and spend the day rate on lottery tickets, because the odds are about the same…
  10. I have an 822, two DBSMD's and two DPR's(well, still waiting on the 2nd from Lectro). It's been kind of strange since I've gotten the transmitters in, I haven't really had my wireless out on many shoots, lately. But we did use one DBSMD on an interview a few weeks ago, and when I asked my audio guy how it sounded, he said, "Sounded like a Sanken COS-11", which I would consider a good compliment, because all he heard was the mic.
  11. I was with the Hartford, for business insurance a long, long time ago. They dropped me and the entire insurance pool that I was in(did away with the policy they were offering), after several large claims(not from me). I believe Liberty was the next insurer I had. I had a large theft while out of town on a job, and without insurance at that time, I could have never recovered. It was a $40K+ claim. Every penny paid. No fuss or pushback. $25,000 is nothing to sneeze at, and if you have had no reason to make a claim, on the surface it seems like the smart move. But $25K wouldn’t even cover replacing a single zoom lens of mine, much less my audio package or even scratch the surface of my entire gear package. Yeah, it hurts and I hate paying all those thousands of dollars every year in insurance premiums, but it’s less painful than if I had to replace hundreds of thousands of dollars worth of equipment without it.
  12. I only carry Li-ion batts in my carry-on. I never check them. Mine break apart into two halves to meet carry-on restrictions and I tape the contacts. I don't think I've ever had anyone at screening say anything about them, but they are legal, so I don't worry about that anyway.
  13. And the Rycote doesn’t F-up the threads on the pole, either.
  14. These are what I’m using, too. Easy in, easy out and feel solid.
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