André Boisvert

100% humidity to me is a downpour, where I have to find shelter to remove the windjammer every 10-15 minutes to shake off the water, because I can feel the extra weight at the end of the pole and the sound starts to get muddy. My 81 never flinched. I've used mine on almost every job for the first 18-19 years of my career and never had a humidity issue. IIRC, I had one RF issue with a tatoo gun. Memory being what it is, I may be selectively not remembering other issues. Most pieces of gear I've owned going back to my 4.2 have had issues, I just think it's wrong to label a manufacturer's entire line of products we can use in the field as "crapping out" in specific environments.

This is a very broad statement and has not been my experience.

None of the 3 names appear in the AQTIS phonebook - the other union in Montréal.

Like Bernie says, this should be part of everybody's setup time with every camera: Use a single audio source (I use the boom) and pan it from L to R while listening to the return. It's a 2 second check. I also don't know of any video camera in the C300 league that does 24 bit. Some fine sounding feature films were recorded on 16bit DAT. It's those darned archers again.

I propose that the F in RTFM should stand for Fabulous.

A topic worth revisiting once a year.

Doesn't that confuse the editor?

As was mentioned by Alex in one of the threads recommended by Steven, adhesive works very well to remove adhesive. I use gaffer tape. Stick on, peel off, repeatedly. As long as the residue is still sticky and not dried up, I don't understand the advantage of going with a liquid solution over a basic mechanical one.

I may be wrong, but I think Senator was referring to other substances that are mesured in grams and ounces.

Great tutorial. Well done.

An interesting perspective. http://www.moviemaker.com/articles-directing/danny-boyle-15-golden-rules-filmmaking/

"As long as we've got a plan and someone to blame when it all falls apart, I'm in."

+2

Facebooking. Thanks.

Sorry, my mistake.

They have a store in Burlington, VT.

This looks interesting; http://www.leevalley.com/en/wood/page.aspx?cat=1,43326,68749&p=70591 And the whole system; http://www.leevalley.com/en/wood/page.aspx?p=68749&cat=1,43326

The big advantage to using a wireless on interviews is that I get to hear it before they sit down, and make adjustments if necessary. I usually mic them up while they're talking to the director or host, and by the time they sit down, I know I've got something good. But you make a good point.

The 5 posts rule has been changed to 2 posts before using WTB/WTS.

Actually... (I think I picked up the picture here awhile back. I'd like to give credit but can't remember who posted it.)

Some TV channels make a profit showing nothing but crap.

Thanks for the thread Whitney. I had no idea broadcasting golf was so demanding.

125 W instead of 125 mW.

I always keep 2 hardwired in my kit. A few years back at the Cannes film festival, the cameraman and I were setting up for a host/guest interview near mobile/sat trucks. I powered up 2 Lectros (different blocks), and both had the pilot tone flashing (IIRC) - I was getting nothing. With no time to troubleshoot, I reached for my hardwired. They saved my butt. A few hundred meters from that spot, the Lectros were working fine.

Wrap the strap around once. It'll shorten the strap (making it easier to clip to because it'll stand straight up) and help keep it where you want it.