Vincent R.

I think it's just a misused therm to jump on the HD video bandwagon...

HD mic?

Yes, sometimes I point the boom mic towards me to set a "stamp" by telling the timecode o the recorder. To give t an uniqueness...

<br />Yes of course, and in all my posts I meant indeed, TC sync and scratch. Or scratch, or TC sync. I think I pointed that out enough already...<br />And besides, that&#39;s what OP is starting with rely on TC...

That i mean. But then again, I stand by my point that a slate on the gazillion doc shoots I did would have disturb the "flow" a lot... Shooting in a youth detention centre with all kinds of kids around you, us trying to be that (and I hate the name) fly on the wall. We wait for a "scene" to happen, all of a sudden a emotional moment comes up, camera op is can just lift the camera on his shoulder to grab that, I can just extend my pole to get that, and then WAIT! Slate! Neh, don't think so.

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Wait! A USB to hirose cable and the nomad can power itself!

When does your documentary shoots come in scenes and takes....?? When does your documentary shoots come in scenes and takes...??

Marc and others; Of course I am talking about that you do have synced up with your camera via TC, and fact is that on these certain shoots I will provide a scratch audio hop as well in case of some drift or other error (for the exception!). And I did post as well before Marc, and these two "syncs", TC and scratch were more then sufficient, to prevent me from any mayor problems at all. And a doc is the exception, with some exceptions there. My last two doc shoots really did not allow any slate at all; one was on a shipping vessel on open sea with 25 people we had to follow, just grab what we could get. They where already very aware of us, when the found out that the camera was rolling they start whispering and such. We had to work a bit covert (small cams, plant mics) even. Second one was in a music studio during recording. Same same, very aware of the camera, just quickly grab your moments kind of doc shoot. Well I didn't even bring his option up, but now you are mentioning it; my last big show I did the post of was a 13 episode documentary series, 5 days of shooting per episode, 4/5 hours of footage a day from a canon 7D. ALL synced perfectly with pluraleyes, because of proper management of the scratch feed. Turnaround per episode was sometimes less than a week to go on air, so even a healthy pressure was there. As stated in the second post; have some faith in your equipment, to repeat myself: TC sync and scratch audio.

A clap can hurt the production of a documentary in general. As giving the ones involved the presence of the crew even more than already. Therefore I personally would skip the clap at all on such shoots. But of course there are exceptions.

The following: Producer: hi, new show, pilot episode, you wanna work no cure no pay for half a day next week? If the pilot gets picked up we will pay the day and we consider you for the rest of the show/episodes. Me: well, lets see, first, this and this is my normal day rate and I like it all in writing, please. Producer: we don't do that, put it I writing; companies policy. Me: well good luck then with the show and your policy.

Slightly off topic but Tom, how you gonna use thatch practice? As far as I can see the 742 doesn't have a monitor out or so, for your boom op. you gonna hook them up with an iFB receiver of some sort?

FWIW: no need for 95MB since 16 channels is just:

Sum it. So you don't have to worry about what you are sending; sometimes you have a occasion you don't need a boom (or lav), and what if the cable is just wired the wrong way then? If you sum it all you don't have to worry. It's just scratch after all... And plural eyes works fine with the summed audio.

Thanks Jeff.

Hi Jeff, overal the tapatalk plugin is working good, beside one thing; when I have a post up with a question mark in it, and later on I want to edit that particular post, al content after the mark is being deleted... I use tapatalk with a couple of forums but this only occurs on JW. I assume your priority is not high with supporting tapatalk in particular but I just wanted to let you know, maybe it's a known thing and a quick fix...

How does that show? Do they send you a callsheet with the required shotguns and lavs on it or does the producer Inspect your gear upon arrival? I find it quite interesting that your g2 set gets "approved" but they "demand" a DPA lav (mark the quotations).

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In the Netherlands they care shit about what lav we use, as long as it sounds good.

Tape out. Recorder or mixer. Last situation was a 744t and I used the tape out. I use the G2's for IFB as well so it was a two in one solution.

Or get some Kortwich xlr connectors for your maxx

And what if your camera is out of reach for the dialog, long lenses on drama, or in general on docu shoots.. Then you are f*cked with plural eyes. A G2 on a dslr is my standard, therefore.

I don't consider myself having that thick fingers but they are more set and forget pot meters than "faders".

Seen it, touched it, played with it. Nice. No time code, quite flimsy potmeter knobs though. Aimed at the dslr market, according to the designer himself.