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David Waelder

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About David Waelder

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  • Birthday January 1

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

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  1. You might try exploring the catalog of Lord Mounts to see if there is a suitable shock mount that might be fit inside your tube. https://www.lord.com/products-and-solutions/vibration-and-motion-control/industrial/isolators/plateform-mounts The Lord Company makes a dizzying assortment of shock mounts so this may be a rabbit-hole assignment. They made the small mounts that Chinhda used to shock mount equipment shelves on some of his carts. They also made the engine mounts for the B-17 bomber and I believe that the Brooklyn Bridge floats on Lord Mounts. A surprisingly big company. David
  2. Very clever. I’ve seen cupholder mounts before but never one that incorporated a double shockmount. This looks like a very promising device. I think it may be a bit big but reducing size and bulk is a refinement you can work out in subsequent iterations. You might also consider incorporating a mini-Noga arm in the design for greater flexibility in mike placement. (Deviating from the objective of reducing size, I know.) David
  3. Maybe. (Spoken with the inflection of the Liberty Mutual Insurance ads. "Is this a lug wrench?") Laying duplex cable out in the sun is a fairly common practice to sort out kinks - or used to be before radio booms were common. It never seemed to harm the duplex but, admittedly, that is more robust cable. A little hesitation regarding cooking equipment in the noonday sun is the reason I suggested only an hour or two of exposure. Monitor the progress and pull them in if they get too hot. As always, YMMV. David
  4. I used to work regularly with Marc Gilmartin. He used a rack that permitted hanging each lavalier mike so it might stretch out. A small clip from a stationary store affixed at the bottom provided just enough weight for a gentle stretch. He did this regularly and claimed it kept the cables slack and free of memory coils. If your cables already have memory coils baked in, you might want to hang them outside in full sun for an hour or two. I think the rack Marc used was a commercially available product used by sound studios to keep patch cables sorted. Marc probably modified the slots to accommodate the thinner mike cable. David
  5. Silent films were shot and projected at 16 FPS. Actually, the first films were shot at frame rates closer to 30 FPS. There were no standards in the beginning but that’s about the speed of much of the very early production. Persistence of vision needs about thirty images per second to appear as smooth motion. Very early on engineers discovered that it wasn’t necessary to shoot thirty individual frames and project each one. Satisfactory results were achieved with about half that many images if each image were projected twice. The projector was equipped with a butterfly shutter that flashed each image on the screen twice before pulling down the next frame. With that innovation, good results were possible using about half the film needed to shoot at thirty pictures per second. The cost savings were obvious so the rate of about 16 FPS came to be broadly accepted. All these frame rates are approximate, of course, since the cameras were hand cranked and steady speed relied on the smooth hand of the camera operator. When sound was introduced, the standard speed of 16 FPS was too slow for good audio reproduction. The higher speed of 24 FPS was adopted as a good compromise between economy and better quality. The practice of projecting each image twice using a butterfly shutter continued, thereby enhancing the smooth persistence of vision. That was probably needed as familiarity with watching movies made perception more acute. Sometimes the early silent films, shot at 16 FPS, and intended to be played at 16 FPS, would be projected at 24 FPS because that was the only playback speed available on many sound projectors. David
  6. The Hush Lav's are an interesting and resourceful choice. I've had good success (I think) with Tygon tubing. That's a flexible tubing generally available in any good hardware store. It's used in scientific research and also in aquariums and similar applications. The tubing has a relatively thick wall and, while flexible, has enough rigidity to hold shape. It can be cut with scissors or a pocket knife. Once slipped over an antenna, it can be secured with a small swatch of tape. There are so many variables in radio use under "battle" conditions that it's hard to say how effective small adjustments like this are. My hunch, based on some experience, is that it helps. David
  7. “ It didn't hold up as well in combat as the the PSC cart that imitated it,...” My understanding (I’m open to correction on this point) is that Ron paid a licensing fee for the cart design. He didn’t just copy. David
  8. Hmmm... You're in Lynchburg, I see. It's a nice place but far from the centers of production. Would a road trip be possible? The established equipment rental shops, Location Sound, Trew Audio, Professional Sound, The Audio Dept., etc., are all located in the major production centers. If you could make your way to one of those shops, they all work hard to accommodate new clients and set them up with appropriate gear and some guidance on how to use it. Probably the closest professional supplier to you would be Trew Audio in Nashville. A bit of a drive, I know, but once you've been there, met the sales and rental people and opened an account, you could conduct future business by phone and have rental gear shipped in. David
  9. Rockit Cargo is one of the leading expediter companies. They handle many films and a substantial number of traveling rock shows. https://www.rockitcargo.com/ I've not used them myself. (The company I did use was swallowed by a bigger fish.) But Rockit was recommended to me by Art Rochester. David
  10. Typically an on-camera subject will be directing his speech to someone. If there isn't actually an interviewer, there may be a producer who serves as the "audience" for the speech. Position your interviewer/producer a little distance from the speaker, perhaps eight or ten feet rather than just five feet. The subject will naturally project to be easily heard and the stronger voice will carry better over the background. If you don't have anyone in that role, draft someone and instruct your talent to address that person. Better results, minimal extra set-up and no additional cost. David
  11. Seven Series brackets are still available. I believe there are also one or two brackets to hold the CL-9 mixing interface. David
  12. You might try using one of the circular cutting punches that comes with a set of grommet tools. These are available in any good hardware store and are sufficiently inexpensive that purchasing a kit for this sole application would not be unreasonable. Before buying anything, ascertain that you could get a punch into position where you need a hole and also strike it with a hammer either directly or through some material. I haven’t tried it on a bag but I think it worth a look. David
  13. This issue of gear selection for a new player is about more than just the best tool for each function. As Phil Perkins (and others) pointed out, no one really cares or notices what components make up a sound kit so long as it seems to be organized and capable. This is true most of the time; producers mostly don’t know the advantages of one product over another and their eyes glaze over when the subject comes up. But there is an exception to that situation. If something were to go awry, it’s best to be working with gear generally recognized as an industry standard. Employers who never give a thought to what sort of microphone is being used can suddenly take a keen interest if it begins buzzing and causes even a momentary production delay. Whenever things go bad, it’s best to be working with recognized standards. That won’t make unwelcome scrutiny go away but use of less recognized gear provides an opening for criticism. This is is not an issue for an established pro; Mark Ulano could use microphones from Fisher-Price and everyone would assume he was going for an effect. But new players would be well advised to not stray far from the expected pro gear. David
  14. I think this is the sort of question best answered by someone in the office who would have access to the latest costs. There are four people (at least) in the office competent to answer a question of this kind: Scott Bernard, the Business Representative. (He generally makes himself available to members but probably has limited time to discuss issues of this sort.) Joe Aredas, Assistant Business Representative, the Field Rep. Joe's father is a representative with the International and he, himself, has been a member and officer of Local 695 for many years. Heidi Nakamura, Assistant Business Representative. She has similar responsibilities to Joe. I don't know her personally but she has been in that position for a few years. Laurence Abrams, Education and Communications Director. Laurence has occupied that position for ten years or a bit longer. Previously he was a boom operator. While the information you seek isn't directly available from the website, there is a contact link that you might use to send a message to any or all of the people above. You'll find it on the "Why Join?" page: http://www.local695.com/html/whyjoin.html Clicking on the links on that page generates an inquiry through the website but you could make your query to the attention of any or several of the people I named. And, of course, you could call the Local directly: (818) 985-9204 David
  15. Yes, there is some truth to that assertion, especially as it applies to using a laptop for your backup machine. I’ve always worked with the premise that a backup was just that and nothing more. There is no necessity to duplicate all aspects of each file to make a useful backup. At the start of the day, I would log the date and basic production information in metadata. Then I would simply allow take numbers to accumulate throughout the day. If there were a need to use a backup recording, the editor/edit assistant would need to hunt through the files to find the needed take. But that should be a manageable chore as each take would still have the classic voice slate and all digital recorders include TOD in metadata. A dedicated recorder, like an SD 7-series, rolls with only a single button press. It’s very minimal additional complication. (But I wouldn’t employ it in handheld situations.) David
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