Philip Perkins

That's too much latency for anyone near the set.

https://usa-shure.shop/collections/microphones       THIS IS A SCAM SITE

https://www.shure.com/en-US/products/microphones    THIS IS THE REAL SHURE SITE!!!!

Watch out--here's another super elaborate scam sales site!!!    Very much like the Pelican scam site!!!!

Also watch out for the proliferation of really elaborate scam equipment sales sites.  There is a really convincing one for Pelican cases with "warehouse clearance" prices that is still up and shows up in web searches for "Pelican" or "equipment case sale" etc..   There are others for various production sound gear.  These sites go on for page after page and have huge amounts of tech detail, mostly accurate.  What they don't have is non-funny-looking contact info...

How long do you need it to be (extended)?

I do a lot of music recording while having to be in the same space as the players, the HN7506s have worked out really well for me for this for many years.  For dialog jobs I hated using them--insufficient spatial awareness for doco and even set-recording of drama.

4099 among others

22 hours ago, inspire said:

Can you please specify? Do you mean that if something is needed to be corrected / Repair?

Yes. We've fired DPA around here by now, after using them quite a bit for a long time.

Beware--support from DPA is terrible.

Rigging whatever you can over the roof to deflect the rain away from it (and drain down somewhere farther away from where you are shooting) is the best I've done.  Even if you put something soft on the roof there will still be a thrumming from the rain in the space.   I've tried layers of furni pads, hog's hair etc and they can help, but the best idea is to not let the rain hit the tin roof in the first place.  Are you buds with the grip dept?  Will they help with some big blacks rigged over the roof on stands?

Many younger people do not understand that film cameras mostly do not have timecode, sound recording or any other form of marking footage as it is shot.  Post the rebellion against the old-school Hollywood style "slate everything" style of shooting that video allows (if the camera gets even gets just a scratch track of some kind), it is sometimes overlooked that if you don't shoot some kind of piece of writing saying what the shot is or where it might go in the film then you are going to have a very frustrating and extremely time-consuming task figuring that out in post.  ACs and soundies who insist on slating can get very unpopular on the set.  And then are heroes in post!  Intelligent producers understand this.

Trew Audio in Atlanta or Nashville?  (Trew bought out LSC)

It's a 4-head Nagra, so could record sync sound.  There were a few small co.s making Dolby addons for the Nagra for awhile--this one looks well done, using Nagra style switches etc.  British?  It's too bad there aren't views of the sides to see the connections.   Another thought is that it is a device to allow extra mic inputs to be mixed with the 2 onboard pres to the 2 record channels by using the NR send-receive loop.  I still have a simple bespoke version of this that was built for me by Bill Ruck in the 1980s.

21 hours ago, Apcki said:

Just curious how you guys are dealing with the crazy reflections coming off a led wall. Is it just handled in post? 

Yes it is.  By ADR. 

5 hours ago, Patrick Tresch said:

You should do a test with the crew. As even the choice of the compendium can have an impact on the vibration noises. The magazines are also a big factor of sound if it's an old not cared one. The bad film loop can also give you problem. Is it SR1 or 416? Big difference in the evolution of the cameras. But film passing through the gate is  such a sweet sound ... 😉 

Until you need to get rid of it in post....

If you haven't done a 16mm sync sound shoot before you will probably be surprised at how noisy "silent" 16mm cameras actually are.  They were "silent" only in comparison to non-silent cameras (like Arri S, Bolex etc), they are still quite noisy, and this is when those cameras were brand new.  Worn cameras become noisier, the worst were cameras bought (very) used by newbie DPs to shoot their first dramatic etc films (the cameras could be adjusted to be either be slightly quieter or have the most accurate registration possible, but not both at the same time).   My diplomatic skills were on full display in advocating for an optical flat in front of the lens (the lens acts like a trumpet broadcasting the camera noise right at the actor) and some sort of blimp over the magazine (which was often the AC's jacket).  On a few shoots the wardrobe people kindly cut up one of my furni pads and made us a mag-blimp for the camera.  These solutions helped a little, but just a little.  An upside of film shooting is that the director can't roll for hours at a time--the film runs out every 11 min (and you can put the boom down for a minute).

I wish Lectro well in their new attachment to Freedman.  They have certainly been among the Great Mensches of my audio career, and I've been very happy with everything I ever bought from them.  These are perilous times for small companies doing exacting work, and I hope being part of Freedman gives them the space and resources to come up with even more amazing devices for the pro audio industry.

17 hours ago, Izen Ears said:

Maybe a hanging shoe rack, mounted on a stand? That could hold a ton.

Worked great for me.  Folded up into a small Pelican for moves, hung on a mic stand or whatever was handy.  Was good training for clients in returning their headsets for moves or at the end of the day.  A visible, obvious home for them got their better instincts to put them back in the pockets. We found that with that thing near their chairs they left their headsets just laying anywhere much less often.

When this kind of thing happened to me on a job, like it was talent that damaged the mic, the production would be charged full replacement value for it.  I had this conversation many times.  They may not like it but there is no way you should be on the hook for this cost.  As was said, lav mics are an expendable.

Go ahead and fix it, but this mic is now a backup that needs to be replaced with a new "front line" mic.  Once this sort of thing breaks it's just a matter of time before it breaks again.

one can only hope...

another patent dispute?

I just got the email that I'd guess a lot of you received, saying that Location Sound Corp is now part of Trew Audio.  I hope the deal went well for the many very long-time employees of LSC.   It sounds like they will close LSC's Riverside Dr. location and move everything to Trew in Burbank.  The people of LSC (and ASC before that) were really helpful to me when I was just starting out--anytime I got to LA I always made a pilgrimage to ASC and always learned something important when I did.  Thanks folks--best of luck to Trew et al!

Thanks--very interesting.  Maybe not great for small scale operators in urban areas and at major events...

I need to rent a Hi8 format video deck to dub off the video from a performance from the 1990s.  Local SF area would be best, and I can use a Hi8 camera to dub from if need be.  I only need to copy about 45 min of material, for Lines Ballet's archive.    Anyone have or know where I could find such a thing?  thanks!

I was hoping the new-model  Schoeps would be less moisture sensitive...