David Waelder

Hi Gustavo, I’m surprised that no one answered you as there are a number of Nagra enthusiasts on this board. I expect you will reap responses from them soon. Your recorder is quite old. First produced in 1958, the III was replaced by the IV-L model (and subsequent 4.2 variation) in 1968 according to Wikipedia. Personally, I don’t recall ever seeing or hearing of a IV-L before 1970 but the roll-out of the new model may have been slow. Anyway, your machine is now fifty years old or older so finding parts may be a challenge. The factory supported these machines for a very long time but eventually stopped giving support somewhere in the mid to late 1990’s. The III is the model that made the reputation of the company. It brought sonic quality previously available only in studio machines to a portable recorder. It was amazingly reliable and, because of its ability to run on ordinary flashlight batteries, could be used anywhere in the world. It was the favored recorder of people making ethnographic recordings. The replacement IV-L (& 4.2) brought another input and more sophisticated construction using a motherboard, daughterboard configuration. While the Nagra parent company no longer provides active support, they may still be a source of information. The original company, The Kudelski Company, has moved on to the manufacture of video decoding equipment but audio gear is still made by a spin-off of that original firm. United Technologies Switzerland, headed by Stefan Kudelski’s son-in-law Pascal Maroux (sp?) and daughter Magritte Kudelski, still makes audio equipment. Several companies here in the U.S. still service the Nagra III as they are able. A reliable source of parts can be a problem and navigating cross-reference manuals to identify replacements for transistors and capacitors long out of production can be time consuming, driving up service costs. But servicing is possible. I believe that Trew Audio will still work on the Nagra III and possibly also Location Sound Company although their resident Nagra III specialist, Peter Pham, has retired. But it would be wise to contact these companies directly. Dan Dugan in the San Francisco area may also be a source of support. Regarding external power, I am 99.9% certain that the ATN power supply made for the Nagra IV (& also 4.2, IV-S, etc.) will work with the III. That opens a wider source of supply as those recorders were made into the 1990’s and components may be available on EBay. You might also contact Ron Meyer at Professional Sound in Valencia, California. Ron made a power supply for Nagra recorders. I expect he stopped making them twenty five years ago but you never know what might still be on a shelf in the shop. I hope our this helps. Good luck with your new acquisition. David

In support of the recommendations for opening the sticks on a slate to keep it running throughout the scene, it’s worth mentioning that Denecke skates can be remotely powered. (Probably others as well but I’m not as familiar) The multi-pin connection of the side, a 4-pin XLR on the TS-1, TS-2 slates and a lemo on the TS-3, has power-in pins. The slate typically accepts from 8 to 16-volts DC. Hooking up an external power supply permits running the display all day without concern about depleting batteries. One of the CH-12 power adapters that Lectrosonics routinely packages with portable receivers could be repurposed to interface with the slate. (But please do double check my figures on allowable voltage before plugging anything in.) David

The Arri SR is a “self-blimped” camera. That is, it is designed to run quietly (but not noiselessly) without an actual blimp enclosure. This was accomplished primarily through careful attention to a smooth gate, tight manufacturing tolerances and, especially, by engineering the intermittent movement for quiet operation. The claw was polished smooth and designed to slide onto the film perforation rather than just punching into the perf and then yanking down. It’s a design approach pioneered by Eclair and adopted by Arriflex and Aaton. When all is right, the result is a quiet camera that is smaller and much lighter than anything in a blimp. There are a couple of elements that are necessary for quiet operation. First, tune is important in this type of camera. A bench technician can align the intermittent movement, especially the pitch, for quiet operation. It’s akin to adjusting valves, plugs and timing on cars prior to computer engine control. And, secondly, for best results the tune should be optimized for the particular film stock used. By the way, fresh film stock is also essential as the base tends to shrink slightly with moisture loss. When everything is in tune, an Eclair NPR will run at 29db measured 3-feet from the film plane. Aaton claimed noise measurements as low as 26 or 25db, an astonishing accomplishment. And a Panaflex was even a bit quieter. I would expect an Arri SR to be somewhere in that range, probably closer to the NPR than the Aaton. It sometimes helps to fit felt, or something of the sort, in the series filter holder. Mount a filter, clear or haze if no filtration is needed, and screw the holder onto the lens. After attaching, back off the threads about a quarter turn and secure the filter holder with a piece of tape so it doesn’t unscrew further. Noise is projected through the lens and you are trying to make an acoustic break. But this helps only a little; for good results the camera needs to be tuned to the film stock. David p.s. So far as I know, there is no such animal as an actual blimp for the Arri SR. Padded magazine covers are all that is available.

I agree with others that wild lines are best recorded in the same, or closely similar, environment but farther from the noise source. A serviceable track can be recorded by walking inland a bit, away from the surf. My best results came when I positioned the person speaking with their back to the surf. Then I would use a directional microphone, a shotgun or short shotgun, aimed up from the waist. The body of the person speaking acts as a buffer blocking some of the direct surf sound. If there are two or three people having a dialog, I would array them in a semicircle so each could be recorded the same way. It's probably best to stay on the sand as the soft surface absorbs much of the reflected sound that might otherwise hit the microphone. That benefit is greater than anything gained by an additional ten or twenty feet of distance to work in the parking area. Of course, each circumstance is a bit different but that's how I would first approach the task. Moving inland just enough to get some distance also has the benefit of being relatively easy, improving the chances that the AD and Production will be cooperative. David

The Halliburton cases are elegant. They are typically clear anodized aluminum, a silver-color finish, but they are also available painted black and some sizes offer (or used to) a gold-tone anodized finish. There is a caveat - beyond a price considerably higher than Pelican cases. My experience is that the larger sizes are easily deformed by the weight of the contents. It’s not such an acute problem that the case would look odd but it can flex enough that latches don’t easily line up. A Nagra isn’t so large but people often purchase a case large enough to also fit an AC power supply or other accessories. With a Halliburton, I would advise purchasing a case just large enough to fit the recorder plus, of course, an inch or inch-and-half for the foam. One real positive - they have a lifetime warranty. If a latch fails, they’ll send a replacement without question. David

From the photo, the lid looks pretty good as it is. But if you seek improvement, you can use the same plastic polishing technique you would employ on headlamp covers. Griots Garage has plastic polish that can be used with a microfiber cloth. For best results, get one of their small random orbit polishers and a pad (they Velcro attach) designated for plastic. The polisher will set you back about $100 but you’ll find other applications. David

Thank you all (Glen, Mono, Constantine, Larry F) for the education. It would seem that the issue is a bit more complex than I had realized. My take away from all of this is that: 1. Damage to a microphone (as distinct from damage to other components) from connection to phantom power is most unlikely because there is protection built into the circuit. 2. Notwithstanding this precaution, the real world sometimes presents unwelcome surprises. 3. The use of XLR connectors may reduce the likelihood of a momentary short but it is not an absolute protection. Momentary shorts can happen even with XLR connections. Is this a fair summary? David

Be very careful with this approach. I was advised that another party is bound by proposed terms and conditions only if they explicitly accept. If they just do not respond, the offer of a contract is deemed refused. In other words. you are actually legally in a weaker position than if you had said nothing. With no contract, you might argue that the work is subject to the conditions customarily attached. That's a weak argument but it might get some traction. A rejected contract is just that, rejected. These circumstances may not apply in every state so there may be some places it might work. But I understand that the presumption of rejection on no reply is the default in most states of the United States. David (Apologies for practicing law without any training. Please do check my advice for accuracy before acting on it.)

And there's the rub. Producers are often unwilling to sign four-page rental agreements. They may go along with complex contracts to secure a camera but balk at signing similar documents from others. One may persuade compliance on larger productions where legal consultation is readily available but getting agreement on smaller projects is often difficult. I had fairly extensive discussions with my attorney to address exactly this challenge. (It helps to be closely related to the attorney, advice that I pass along in the same humor as suggesting that being born to rich parents is a career advantage.) The primary reason for the four pages of boilerplate, according to my counsel, is to articulate exactly how disagreements are to be settled. For instance, if the agreement declares that the producer is to pay for loss or damage, the contract may specify the exact timeframe for a proper settlement. These stipulations are very helpful if one actually must press a legal claim. But, the primary reason for the contract is to establish that a rental agreement is in force and the producer bears responsibility for safe return of gear. That relationship is established in the one paragraph document I posted. As IronFilm wisely stated, a large part of the purpose of the agreement is to encourage responsible behavior and discourage "ghosting" a claim. Since these claims rarely involve a large sum (e.g. $50,000 or more) it can be difficult to compel compliance even with a valid contract if the other side is determined to be obstreperous and dishonorable. The simple contract should be sufficient to force settlement from an insurance company, even without producer cooperation, if there is a policy in force. David

A signed rental agreement is the most important element establishing reciprocal responsibilities. (Sorry rub salt as you are now past that point but I state it for the benefit of others who may negotiate insurance certificates but fail to get the more important agreement.) I have been using a very simple, one paragraph rental agreement in negotiations with producers: Letterhead [Name of Production Company] Address Date [Name of Production Company] is renting motion picture sound equipment from [Your Name] for the production of “Show.” [Name of Production Company] acknowledges receipt of an inventory of the supplied equipment and pledges to assume responsibility for its safety and to provide insurance coverage at replacement value. Rental is expected to commence on [Date] and conclude on or about [Date]. Signed and agreed to by: Position: ******* I have had good luck in getting cooperation using this form. I wrote it after consultation with an attorney but it is not an attorney drafted agreement. That is, use with discretion and at your own risk. The agreement states that the company acknowledges receipt of an inventory of gear. It is very important that you fulfill this part by sending an equipment inventory - a pdf attachment should be OK - prior to the job. More directly to your predicament - if you do have an insurance certificate you may be able to press a claim directly with the insurance company, bypassing the production company. States in the U.S. generally permit this kind of claim but it may not be the case everywhere. David

Like others, I've connected and disconnected phantom microphones many times without any harm or concern. But there is an issue I think worth mentioning. With XLR connectors, there is no reason to be concerned. And, ordinarily there is no reason that a phantom microphone would be connected with anything else. However, when I was having a patch panel fabricated for my cart, I was advised to use XLR connections in that panel instead of the more usual phone connections. With the phone connections, it is possible to have a momentary short on the phantom power lines when inserting or removing the connector. That doesn't happen with XLR connectors with pins that keep the connections discrete. David

If there is to be a fire, either in a fireplace or a campfire, request that the pyro technician (or efx technician) include a silencer to minimize gas hiss in the kit. Since the silencer is really just a length of pipe stuffed with steel wool, one would think that any efx technician would pack it whenever they went out on a job but that isn't always the case. I've many times been told, "Oh, I have one of those; it's sitting on my workbench but no one asked for it." David

I think it’s an ElectroVoice 642, a dynamic shotgun. The foam windscreen is an EV accessory. David

Just to give credit where due, and hopefully not hijack the thread, the forum that David Yaffe initiated on USENET was an outgrowth of a bulletin board that had been running for a few years on Courtney Goodin's server. In the early 1990's many sound technicians in the Los Angeles area experienced difficulty booking sufficient work to keep their health plan eligibility. If memory serves, this coincided with more restrictive qualifying requirements. Some of the affected technicians came together as a political force to press for better circumstances both by seeking accommodation from the IATSE and by trying to improve the general circumstances of work in the discipline. The group pressing for change called itself "Sound United." It was a loose collection of individuals; there was never a membership list or anything of that sort. Members contributed in various ways; David Yaffe arranged for a meeting hall on one occasion, others worked on a newsletter. Courtney Goodin contributed a server and hosted a computer forum for networking. With the development of USENET, David Yaffe, with Courtney's blessing, migrated the group to the larger forum. David

A boom operator with finely honed skills can make an old broomstick work. But, having optimal tools does make the job easier. Internally cabled poles typically have rubber doughnuts on the section of cable running through the last (thinnest) section of pole. These rubber or foam doughnuts are spaced about six inches apart and do a good job of keeping the cable from rattling against the inner walls of that last tube. Obviously, one can't use that sort of cable management on the other sections since the cable needs to compact as the pole is collapsed. If keeping the coiled part of the cable quiet is still a problem, it's possible to replace the internal coiled cable with a cloth-wrapped coil. That would be a bit more forgiving than the rubber/plastic material that is typical for mike cable. David

I'm confused as to how a zone might be "L.A. rules." (I expect I have company in this.) The studio zone in Los Angeles has a precise definition; it is a thirty mile radius from the southeast corner of the intersection of Beverly and LaCienega Boulevards. There are also a couple of agreed upon "bulges" to accommodate Vasquez Rocks Park and one or two other commonly used locations. This is by agreement between the AMPTP producers and the various guilds and unions (IATSE, DGA, etc.). It's applicable in the context of that negotiated agreement. It wouldn't ordinarily be transferable to another location. Of course, many things occur in the world of bootstrap film making. David

"curious if you do a lot of work in hospitals whether you run into any issues with using wireless?" I believe that hospitals are often built with chicken-wire, or something similar, in the walls. The intent is to minimize any stray radiation from portable x-ray machines. Limiting the range and performance of radio systems is an unintended consequence of shielding patients from spurious radiation. Not that any of this knowledge helps but sometimes knowing the cause helps keep the crazy to a minimum. David

Happy Birthday Jeff!

I have blown capsules on two separate occasions, once with an MKH 416 and once with a KMR-81, so it does happen. But, for ordinary gunfire, it is unusual; most of the time the microphones are quite robust. There are two circumstances to be cautious of: 1. Working inside where reflective surfaces tend to amplify the sound. I’ve not ever had difficulty when working outside but I did instruct my boom operator to give a little “air” during the gunfire. 2. With fully automatic fire. On both of the occasions when I had blown capsules the weapons were firing on full automatic, once with a Mach-10 and once with an AR-16. David

Not quite. Music videos were a primary use for these slates when they were first available. That’s a playback situation so the slate would never be able to operate independently with a sync box. The Comtek radio link allowed working without a nuisance cable from the recorder’s sync output. And, of course, all of this is functional only with a time code Nagra (or other TC machines); a sync pulse Nagra (e.g. 4.2) wouldn’t output any timecode. David

The TS-1 is entirely functional and still a valid choice. I assume that your school’s example is fitted with a sync box to make it operate independently. Without that box, one would need to feed timecode from your master clock -presumably the camera - via cable. But the sync box is a nearly ubiquitous addition to a TS-1. The TS-1 does have an anomaly that was corrected in subsequent models. The code as displayed on its screen lags actual recorded timecode by one frame. This occurs because, when jamming, the device must “listen” to all eighty bits of data stream to identify the signal. Consequently, as it displays that number, it lags actual code by that one frame. In practice, this is not a real obstacle; one just applies a one frame offset when syncing. But it is an operational note you would want to be aware of, especially if, at anytime, you intermixed the TS-1 with a later model. Starting with the TS-3, Charlie Parra implemented software to correct for the reading error. David

There are occasions when even the most drastic avenues of redress are appropriate but I don't think that failure to pay for a day not-worked because of a late cancellation justifies such a drastic response. Withholding production elements is a "nuclear option" that I think should be reserved only for failure to pay for work actually performed and, even then, only when there is evidence of bad faith. Withholding files has teeth because the material is fundamentally important to the producer but it can also be an action that prods the producer to respond vigorously. The legal right of a technician to withhold is not at all clear in many situations. While union contracts typically have a provision of pay for late notice cancellations, they do not extend ownership of the work product to members; rather the dispute is subject to a grievance procedure. If you have a contract with the producer, you may have rights giving you a mechanics lien but, in my experience, that sort of contract is unusual. Rather, most deal memos I've seen refer to the agreement as "work for hire" and the resulting files as "work product." However the dispute might play out, the money involved isn't worth the blood pressure elevating stress. You may argue your claim with the producer and regard the company's failure to offer a reasonable compromise as a breach of good faith. You may also share your disappointment with others (although I wouldn't post that disappointment on a public site) but I wouldn't recommend getting in a serious fight over it. David

Bob, that is rather a lot of contractual obligation to review for a one-day assignment. Regarding insurance, a policy that would meet the needs of the situation can be easily arranged even at the last moment if one has a relationship with an insurance broker. One of the more popular (at least locally in Los Angeles area) sources for equipment insurance is "Insure My Equipment." https://www.insuremyequipment.com This is a company specializing in equipment insurance for freelance camera people, photographers, sound professionals, etc. It is affiliated with Heffernan Insurance. If one has an equipment policy with them, one can just click on a few links from their site to activate their "Camera Operator General Liability Program." While pitched to camera, the policy also serves others. They say: "The policy is specifically designed to cover vendors or subcontractors involved in the production, film or entertainment industry including but not limited to: Cameramen, Photographers, Set Designers, Sound Engineers & Coordinators, Sound Mixers, Video Editors, Lighting Specialists, Gaffers/ Grips, Character/ photo exhibits, Seasonal displays, Celebrity appearances, Tradeshow," etc., etc. About the policy: "InsureMyEquipment.com offers you Camera Operator General Liability protection from third party claims for property damage and/or bodily injury. The policy serves to protect the insured from lawsuits where the insured has been deemed liable for damages to a 3rd party." But check their website for details and particular exclusions (stunts, water work, etc.) and limitations. With a U.S. address and a credit card to pay for the policy, coverage can be arranged in a few minutes. Even without an existing equipment policy, I think one could arrange for a liability policy expeditiously. I think wisdom lies in not working for people with unrealistic expectations and a practice of evading their legitimate liabilities by pushing them off onto employees who typically have little or no control over the work environment. But there may be times when having liability insurance may be suitable and I pass on the information in that context. David

We’ll, as a practical matter, film technicians serve at the pleasure of the director and producer and can be dismissed at any time for any reason or no reason at all. (Sometimes unions offer some protection.) I’ve been on projects where I would check the call sheet for the next day’s work to confirm that I was still listed. But sometimes contracts are a window into the thinking and attitudes of the people behind the show. No good can follow the example you’ve shared. There are worse things than not working. And, it’s useful, especially at the beginning of a career, to develop a side gig that makes it easier to decline poor offers. David

It used to be the case - and probably still is; I don't know - that work for Warner Bros. required use of equipment from the Warner Sound Department. A number of mixers refused work assignments there because of the restriction. After all, a production mixer needs to have an equipment kit for most assignments. But Warners is major studio with a lot of work, especially TV series work, and they pay wages per the union contract. Not many can afford to shun those assignments. On the few occasions when I was asked to work for Warners, I would always clarify the equipment issue by saying that I would show up with a ball point pen to fill out the report form and nothing else. That provided clarity and an opportunity if the UPM wished to request anything. And they always did provide every necessary component and it all worked or could be exchanged at the WB shop. it wasn't always what I might have selected for, say, plant mike situations but it was always serviceable. David