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David Waelder

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About David Waelder

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    Hero Member
  • Birthday January 1

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    http://www.productionrecording.com

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  • Location
    Los Angeles
  • About
    Production Mixer
  • Interested in Sound for Picture
    Yes

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  1. I used to cover Marc Gilmartin on double-up days. He had a cable hanging bracket attached to his cart. I don't know if this is the exact model he used but it's the idea: https://www.pacrad.com/middle-atlantic-equipment-accessories-claw.html Ordinarily, this is used to manage the pigtails that might otherwise clutter a sound studio. Marc used it to hang his lavalier microphones. He would either put a collar on the cable or attach a strip to make the slot more narrow. A cable that was particularly kinky might have a weight attached at the bottom to help stretch things out
  2. Right now, as we're still struggling with Corona Virus restrictions, it's difficult to arrange opportunities to learn equipment. But as we move out of pandemic conditions you might try seeking help from local rental facilities. Rental shops are often willing to allow customers, and potential customers, to spend time in the shop becoming familiar with various recorders and related gear in their inventory. They generally like to help and having customers who know how to use the gear is also beneficial for them. You'll want to be aware of the need to set up out of the way
  3. There are many possible causes for the dropouts you are experiencing. I think your hunches are probably right but harnessing that insight to a solution is difficult. (But others may contribute good suggestions.) I can tell you that my experience has been that momentary hits are often easily corrected. That "pfftt" sound is loud but usually very brief. It does require work by the assistant editor to sliver the hits out but it can often be accomplished seamlessly and without excessive difficulty. Usually fixable, if that helps. Of course, occasions where the signal drops
  4. Some years back I was working a project where Gary Graver was the DP. I was setting up the espresso machine but the electricians blocked my access to power, telling me they were maxed out. I went over to give Gary the bad news that, due to limited power, I couldn't supply him with a cappuccino. Without missing a beat, Gary pointed to a light in the overhead grid and ordered that it be switched off to accommodate the coffee machine. A man with his priorities in order. David
  5. John and Jeff - Thank you for your very kind words. Jim - (also Phillip) Your advice is spot on. I should have addressed that as well but I was focused on the particulars. David
  6. This is one of those questions that bedevil regulars on this site because there is no good answer. How to treat an interaction between actors is an artistic choice and also inextricably involved with the grammar of film. The question is analogous to asking how one would light the actors, who should be in shadow and who in light, etc. It all depends (to use the motto of a frequent contributor here). But, as I am not actively involved in production at this time and have no "dog in the fight" or reputation to protect, I'll try some general guidance. How much of the downstage actor
  7. I've been using the Rycote Invision mounts. They've worked well for me. David
  8. I have a Nagra Mezzo and it’s a terrific little recorder with stereo mikes built in. It’ll record 24-bit at 48khz, even at 96khz. It always sounds great (with the usual caveat about careful microphone placement) but I acknowledge that my use has been stenographic rather than audiophile. (I have other recorders I could use for that purpose.) However, I heard a recording of the church bells that Peter Weibel made at the Los Angeles Cathedral and it was outstanding, at least through headphones. I’ve never found the Mezzo to be fiddly but maybe some of the earlier handheld Nagras were. I checked t
  9. Mark Pope is a sound guy working out of San Francisco. Per IMDB, he has only a few credits in sound, mostly shorts, but he has also pursued other occupations. Notably, he was one of the co-founders of Quark, Inc., the publisher of Quark XPress, a desktop publishing software that was very popular in the 80's and 90's. He's a very smart guy. He's also very politically outspoken on Facebook. His credits are a bit thin but I would have expected that he would know enough to assemble the gear without having to solicit a consultation to avoid a visual blunder. David
  10. There is a switch in the sticks called a Hall switch. It's the Hall switch that signals the display to freeze for a few frames and then extinguish. The Hall switch has a shorter service life than the slate as a whole. It's an easy repair and not, as I recall, particularly expensive. But it does require a trip to a service facility. If possible, send your slate to Denecke in Santa Clarita, California. If that's difficult, call Charlie Parra and explain your circumstances. I expect he could send the necessary parts to a facility near you. David I see now that you are in New Zea
  11. If the situation is a controlled fire operated by a special effects technician, you should contact that person beforehand to introduce yourself and let him know that you'll be recording sound. You'll want to respectfully request a silencer for the gas line. A silencer is basically a length of gas pipe loosely stuffed with steel wool. It cuts down the hiss of the gas significantly. Don't assume that the EFX person will have that sort of gear on the truck. I've had EFX technicians tell me more than once that they have line silencing components back in their shop and would have brought them along
  12. It's really an impossible choice; you would want to be prepared with at least one of each type on any assignment. But it's often possible to get excellent results with professional gear even using it outside its normal comfort zone. All The President's Men was recorded almost entirely with a Sennheiser 805/815 shotgun, even the interior scenes. Chris McLaughlin preferred the long shotgun and Jim Webb often deferred to his boom operator in microphone choice. David
  13. Try Jeff Jones: ****** Road Ann Arbor, MI 48103 jeff@amazingaudio.com 734-761-1920 (landline) 734-216-7740 (cell) Jeff was a regular Chinhda client over a period of several years. I think much of his business has been for the auto industry. From many interactions,I believe he is operating at a high professional level. David
  14. I previously recommended acquiring a Noga arm, or a knock-off, for rigging microphones in cars. The inexpensive knock-offs that were previously available on Ebay are now relegated to listings as "magic arms." This is entirely right and proper. Since then, I received a promotional piece for a very similar "Articulating Arm" from Adorama for only $20: https://www.adorama.com/fpxar06.html In general I think that buying from Adorama is better than wandering into the den of thieves that sometimes operates in a corner of Ebay. Still, I am reminded of the interchan
  15. I expect you are aware but, just in case- That boom operator box is used with a hard wire boom connection and you'll need a few other components to make it functional: 1. You'll need a recorder and/or mixing panel that can feed audio to a second set of headphones. (The Audio operator - mixer? - monitors through the first set.) 2. You'll need a short breakout or pigtail cable to receive the microphone signal and feed headphone signal. 3. You'll need a "duplex" cable to run between your recorder (& breakout cable) and your boom operator. The dup
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