Steve Grider

If I am worried about how the adhesive of Transpore might affect the wardrobe, I stick it to my clothing first before applying it to talent. It takes a little of the adhesive away, but not enough to keep the tape from working. It works ok if I am wearing a cotton shirt.

I make it a point when I am working features to be in very close proximity to where the video assist cart is. That way I can communicate with the video assist op, scripty, and I can sneak a peek at the monitor when I feel the need. I will let the camera/video department try to financially keep up with the rapidly changing video monitor world.

So this producer didn't want to spend the money to do it right? So now she has to spend the money to do it twice.

If the wide camera is a lock off shot, you can suggest getting a "plate shot" after the "cut". That way, a boom pole and mic can be taken out of the scene in post production. I just finished a feature where this technique was used with success.

Another thing to consider is how the boom mic sounds in relation to any lav mics you might already own. Some combinations work better than others when it comes to mixing booms and lavs in post. Steve Grider Location Attenuation

I agree with the recommendation for the Remote Audio High Noise headsets. I also recommend having as many dynamic stick mics as you think you will need. SPLs at NASCAR races are very high no matter where you are on the track and condenser mics are sometimes useless. I have recorded SFX in the pits and the best results came from a pair of Shure SM 57s in an XY pattern on the end of a short boom pole. Also be wary of the wireless situation at the track. There is a tremendous amount of RF in use for every race and finding a clear frequency can be tough. Do a little reconnaissance when you get there and try to find a source to clear any wireless you want to use. Be sure to have hardwire available, just in case. Have fun, go fast, and turn left!

Happy Holidaze to everyone! Steve Grider Location Attenuation

I don't know what your pocketbook will say to this advice, but I wouldn't let the price of a Sound Devices 702 intimidate you. It is a great piece of gear that will serve you well for a long time. Unless you really need more than two tracks, it will be a great start to a professional kit. Please take the time and research stereo microphones as well. I use a Sanken stereo shotgun for ambiences and SFX and I have been very happy with the results.

Here is a thought....Rode is now making the Pin-mic lav that Ricsonix had out a couple of years ago. If you could use that mic in combination with an insignia on the flight suit or maybe the pilots "wings" pin, you could hide it in plain sight on the uniform. Steve Grider Location Attenuation

After this thread started, I asked some of the producers I work with why they sometimes prefer to hire via text message. They said that on average, people respond faster to text messages. The text alerts them from their phone, which is almost always on their person. Some folks still don't have smart phones, and they check their email only after they arrive home, sometimes 12 hours after they left. They also cite that texting can be more discreet, and that many dont like to have out-loud conversations regarding their next job while they are supposed to be working on their current one. The texts I usually receive are inquiries of availablilty, and all pertinent info about the job is then sent via email. I have received call time information via text when there was a last minute change. It was sent to everybody on the crew via text. Everyone who didn't respond to the text were then called to verify they had the new information. In instances like this, it can be a very efficient mode of communication for producers to spread information to the entire crew. I was slow to jump on the texting bandwagon, but when I realized that this was becoming a preferred method of communication, I embraced it and all the business it brings. Steve Grider Location Attenuation

I have since found out that the new Sandisk "Extreme" has come out to and has a 60 MB/s speed. The "Ultra" is now more or less what the "Extreme III" used to be (30MB/s). I am kind of conservative, and usually the biggest load I use is a 8GB card. I have several,and I seldom need more than that on one of my production days. I may be wrong, but I don't want one card with 32GB of sound on it. I guess I'm scared I could lose that much at once. There may come a job when I need that much at once, but until then, I'm staying with a one-card-a-day method.

I have been using Sandisk Extreme III CF in my Fusion. I have been told that Extreme III has been replaced with their Ultra model. Has anybody used the Ultras in a recorder yet? They are supposed to be twice as fast. Any replies appreciated.

I once used a Shure SM57 in an unlubricated condom sealed with plumber's tape as a "poor man's hydrophone". I was willing to gamble the $99 if all went wrong and I was happy with the recording I got.

I am considering the purchase of a Sanken CS3e. I always look for a bargain, but I can't find a used one anywhere. I see lots of used T power 416s and MKH 60s for sale. Is this mic such an asset to a kit that no one ever wants to give it up? Any replies appreciated.

In my market, film is rarely used anymore. So these days, I give my Fusion's FAT 32 CF card to the DIT at the end of the day. It is copied to two separate drives and that is it. My clients don't want a DVD. I rotate out CF cards so I usually don't have to reformat them for weeks, and most projects are done with post before I have to reuse them. On long form projects, I archive to a hard drive separate from the DIT and turn it in at the end of the project.

I have always tried to be accurate in the verbs used describing on set activities. "Filming" when using film cameras, "taping" when using video cameras. These days its all REDs and 5Ds for me. Now the term I use is the rather generic "shooting" rather than "importing digital images". Even though my Fusion lacks reels, I hold on to "rolling sound" just because I like the phrase.

I often wonder if these producers would invite Emeril Lagasse and Bobby Flay over to dinner and then expect them to do the cooking!

First, This might be ONE of the dumbest things I have ever heard... QUOTE from Steve... Sorry Steve, only an observation, I mean no actual hostility.... "My primary reason for one recorder is I don't want my clients to think my recorder is so unreliable I need another one rolling at the same time to get their job done." It seems some folks care about what they think "Producers or Directors" will think if they 'SEE' another deck on the cart, ( I doubt if most know the difference between a 744T and a Comtek BST50), while other mixers are guarding their reputation themselves without regard to the observations of above the line folks... Is client confidence important when it comes to this topic? I think so. Imagine yourself as a producer an you walk onto a set where the DP has ordered two keys, two backlights and two fills placed next to each other. You walk up and ask the DP, "WTF?". He replies "I have them there just in case one blows during the middle of the interview". As a producer, where is your confidence now? You are now on edge because you believe a problem is inevitable. If you came onto a set where you knew that backups were READILY AVAILABLE, but not VITAL, you would have more confidence in your crew and equipment. We all sell ourselves as professionals with finely tuned ears, technical experience and state-of-the-art gear. If we imply that one of these elements is not up to par, clients may go shopping to find someone they are more confident with.

I get your point and your logic is sound (sorry about the pun). My decision to have one deck on the cart and a backup in the van has to do with a conversation I had years ago with a client. I had just purchased a Deva II and was trying to wean my clients off the DAT standard. I had the Deva on the cart rolling a DAT backup. The client asked me "if this new format you are pitching me is as great as you say, why are you holding on to the old one?" I smiled and took the DAT out of the chain as he watched. I finished the shoot without any issues. No technical issues, and no client confidence issues. That said, I will roll a backup Deva II to my Fusion if a client requests it or if it is a "one take wonder". I don't have a steadfast refusal to do it, it is just not my "default setting".

If I am single system to a reliable camera (this does NOT include a RED or Canon 5D or 7D) if the client requests a backup, I roll an Edirol R9 and charge a little extra. I won't roll a backup in double system unless the client specifies and pays for it. My primary reason for one recorder is I don't want my clients to think my recorder is so unreliable I need another one rolling at the same time to get their job done. I have a Fusion and it hasn't let me down yet. I have a Deva 2 in the van that I will go to should the Fusion fail. I know a minute seems like an hour in a replacing-a-deck situation, but I expect the same the same courtesy and understanding my department extends to other departments when there is some kind of delay. I have seen delays happen in every department for a variety of reasons, it is an unavoidable part of the process.

Something I would address (particularly with PBS producers) is the importance of sound as it relates to the narrative of a piece of work. PBS is noted for airing documentaries that are voice over driven. Paying proper attention to v.o.s, interviews, music and sound effects really make this art form compelling. Cite Ken Burns works as excellent examples of how sound can make historical still photos "come alive".

The closest thing I ever got to an apology was when a producer approached me after he posted a project where they didn't pay proper attention to sound. He said that he spent more time and energy on set than he should have fixing problems. He also said he spent more time and money in post getting the sound to an acceptable standard. He assured me that next time he would hire a professional mixer with professional gear because it would literally be less expensive. I guess some folks just have to learn the hard way.

I used to use a folding ramp sold at pet stores. It was sold so older dogs could get into SUVs. It was made of a pretty tough plastic and folded in the middle. I used it to load a magliner style cart into the side door of a minivan. A couple of years ago I bought an Invision rear-loading wheelchair van. A ramp folds out of the back and my magliner cart rolls inside easy as you please. Probably added years to the gear (no excessive plugging and unplugging to tear the rig apart) and it probably added years on my back as well! Steve Grider