Philip Perkins

If so then well done. I doubt I'll get an Apple Watch, but many mixers I know have them and everyone (that's everyone) uses the phone version of your app.!!

What playback situation are you modeling? A phone? Buds? Laptop? Big home theatre? Festival real movie theatre? A TV? Which one do you care about the most? My advice is to pick a speaker you like, that is a mainstream brand (like JBL etc) then learn how what you hear on it translates elsewhere. This takes some little time....

I've worked on indie feature dramatic films with crews of 3 or 4 total, at least for some of the days. Doco-style drama, etc.. Good choice for the current times.

I just copied the wiring of my Senn. TRS mini-to-XLR (A3M) cables pin for pin, using a TA3F instead of the XLR, and it worked just fine.

Push in?

Crafty is a fading memory. It's BYO now, and a packaged lunch you eat alone.

I'm in.

I try, but this rarely works out. Usually the editor and filmmaker are so used to being able to tweak and frame-fiddle at will that they don't recall all the changes they've made, and if they were just trials or they stayed in the movie. This happens to me constantly, and I've learned that I have to build in time to patrol each new version to see that we haven't lost or gained a few frames here and there even when the filmmaker insists that the cut is the same as it was (like pre vs post color correct). Many of these editors, while skilled story-tellers, don't really understand what an EDL is, or how to make one that would be clean enough to use with an app like Ediload. That kind of situation has worked out best for me in a series setting where the turnover deliverables can be worked out in tests and practice. For one-off shows it rarely happens....the filmmakers are just not invested in saving me time and don't have the skills to prep the files that way!

(Bravo).

And clocks itself to the field rate of the incoming TC, right?

Heavier and thicker with the tightest possible seals is better. We made some window plugs from 1 " thick clear plastic with rubber seals around the edges, with handles attached to make them easy to remove. Worked ok--big improvement.

When I've done this the only caveat was to not let the boom or its shadow cross the talent, as if you'd ever let that happen....

If the X32 is acting as the interface for the Reaper computer, what is clocking the X32 and how? The cameras and the Scorpio will be fine. The TC track you are sending to Reaper is just another audio track, and won't act as a clock source for the computer.

I've lost a lot of those caps in "sticky rigs" that the actors decided to pull off themselves. If I see that the cap is gone I charge the production for it, I think they go for about $13 each now. That is just one of the hazards of B6 use....

Damage to equipment on a job, especially as done by talent, should be paid for by the production. If they had gotten this mic from a rental house and returned it looking like that they would have been charged for it for sure. Equipment insurance in the USA has a deductible, so probably a single lav mic would not be worth reporting. Do make a fix with heat shrink tubing if you can, but this mic would not be one you'd want to use as a first choice. That's just the way of lav mics--they take terrible beating and don't end up lasting all that long if you use them a lot. All lavs can be connectored for any wireless--you can find the wiring diagrams online or send the mic to a repair shop and have them do it. You are in Germany, so Kortwich?