Ludovic Lasserre

Yes I've seen that quite a few times, lovely teaser indeed. Would still quite like to see pics of 688 + SL6, though. Surely someone must have this setup!

Has anyone got a Stingray Large yet, with a 688 (and ideally SL-6) in it? Could you please post one or two pictures? Been spending days trying to source some, contacting both manufacturers and my local resellers, so far no luck...

Do the new LA2 and LT2 take mic level input only, including in mono mode?

Can the stereo versions of the TRXLA2 and TRXLT2 take stereo LINE LEVEL signals? It's been mentioned that the new modulation doesn't work with stereo, but if there's an option offered of a stereo LA2 or LT2, it must still transmit something, right (is it just a case of the range reverting back to our 'old' habits)? Also the Xmitters are described as 'talent transmitters', hence my question about line level. Just thinking out loud, wondering whether this could be used occasionally as a wideband stereo camera hop, which would be of interest to us UK folks (while still having the option of wideband talent wireless for the overseas jobs), with our very limited available spectrum on a shared license here.

Just picked up my 633 today! Haven't quite decided yet which bag I'll go for in the long run, but so far it's temporarily installed in my old Petrol PEGZ2. Having bought a 633 in part for the 'compact' factor, this bag is much too large for it, to my liking. Certainly too 'high' (or 'deep' depending how you look at it...), at the moment I've got the 2 Petrol cushions underneath + several layers of U-shaped velcro'ed holders propping the 633 up, and it's still sitting a little bit lower than I'd like (note I haven't got any Sony L types on it at the moment, but wouldn't want to put deep heavy ones on anyways, only 2 small for backup purposes). Also the PEGZ2 is a bit too long, could do with about an inch less (as long as all the connectors are still easily accessible via the side openings), and definitely wider than necessary (I only need the width of the 633 + of the SRBs or NP1 which is about the same). Then one smaller front pocket for card reader / extra cards / TC cable / 1 or 2 SMDBs and lavs if I need to carry them around / headphones when resting the bag / a few AAs : and I'm sorted. I'm pondering about the 614, or maybe even the 607, if I can fit everything I need in, which sounds like it'd be just about possible. I do like the thought of KT bags as well - if only they were better at web presence... I need to enquire some more. (I can already picture the Senator drooling at that last sentence) (ps: UK guys, does any of our re-sellers around London have stock of most Petrol bags (or others) for us to go and literally test them out with our recorders, size-wise? I can't really think of any that does have enough stock in general to do this) Anyways, here's the piccie (note the LCD and LEDs brightness was lowered all the way to 5% for the picture):

So, with regards to card capacity, are only the sizes mentioned on SD's approved list (for each card) compatible, or are they only a max limit? For example, Sound Devices approves a SanDisk Extreme UDMA 60 MB/s 32 GB card, but would an 8GB or 16GB version of the same one be approved as well?

Hi Rob, Sorry to join this conversation only now... :s Awesome job, well done! You will be hearing from me shortly, certainly before our grim UK winter comes around... What sort of lead time are we talking about for the orders? I like the end result of the hood, especially in vinyl as a sunshade Just a few minor points on my end: - The way that I currently attach my aerials mast wouldn't quite work. I currently use a mic stand arm, that I securely cable tie at 3 points to one of the corner uprights at the back of the cart (so that it goes up alongside one of the booms). I'd have to think of another way with this cover, possibly just on a separate mic stand. Not a big big fan of putting aerials in the rain anyways... - With the flap for the handle as you've currently got it, it seems to me that the rain that hits the handle would then roll down alongside it and essentially make its way to the second top shelf through the flap opening, gradually flooding it. At least it seems like it would behave that way from those pics. Is this something that you've tested? Maybe the handle flap would need to have a hood of some sort that went physically over the handle, sealed at the top, so that the rain drops would not be guided towards the interior of the cart, but should still be 'baggy' enough for one to be able to grip the handle from underneath. Does this make sense? - Good idea on the velcro patches for the boompole bits. However, from what I understand it would mean that the quick-fists (who ever came up with that name...) and the boompole cups would have to be unscrewed in order for the cover to go in place, and then screwed back on top of it? This each time the cover goes on or off? - Last, I'm not a big fan of the colour. But that's just personal taste, who cares! Maybe the darker charcoal one will be more to my liking Well done on the job though, keep it up!

The small claims court process is great if the company has any assets, however if it doesn't, there is not much more it will do for you... One company in particular still owes me (and others) several thousand pounds, and that debt is just under 300 days overdue! We've credit checked them though, and nothing can be achieved for us through SCC as they just have no money or assets... If it's a reputable company who wants to keep their name & company going etc, then I can see how this threat would be effective (though why would they be slow payers in the first place if they really were interested in their reputation). The problem is loads of films are made through companies that are created only for that project, and then can be folded.

I've just discovered that if I uncheck the 'leading zeroes' option in the filename box, this problem disappears. So half sorted. However as the real file names do have those zeroes in, I'd like the file names in movieslate to do as well if possible, if not it sort of defeats the purpose of having a file name info on the sound report.

Hi chaps So I've finally bought movieslate today and experimenting around with it. Trying to make it work with UK style slating, as discussed above. So far all seems to work as I want it to except for a few minor details which I'm gradually getting sorted. One glitch that seems to remain is this: I've chosen the scene/take method for file naming on my main recorder (only 1 recorder, btw). I've actually renamed the 'scene' box to 'slate', as discussed above, but this shouldn't have an impact on the problem. When I roll (or log a shot without rolling TC in data-only mode) on take 01 of any given slate and then cut, the take# part of the file name increments directly to T03. Then on subsequent takes, it only increments by 1, as it should. but whatever I do, movieslate does not seem to want a file to be called xxxT02. It should be noted that the take number in the actual take box does increment normally, therefore from take 2 onwards the 'take number' box and the 'take number' part of the file name remain 1 appart. It should also be noted that if I manually tell the app to call the next take xxxT02, it will do it but then jump directly to xxxT04 for the next one! I just don't get it... At the end of the day it's a bit problematic as the file names on the sound report end up being wrong except for the first take of every slate. I guess worst case scenario I could always stop logging file names anyways, and therefore not have these on the sound report. If the file names are the slate/take number it's pretty self-explanatory anyways, really. But I'd quite like to sort this out if poss. Other thing: is it possible to email (or save) the sound reports directly as pdf files, without going through the html hassle? Sure, I can go through the whole print preview business in order to save it as a pdf, but it appears to be incredibly slow in Safari (no idea why it does that) or incomplete in Chrome. Would be a hell of a lot easier to just be able to email a pdf straight from the app! Finally: is it compatible with iPad Mini? I guess it is, as with all iOS operated devices, but just checking before I actually buy one! (so far only using on iPhone 5) Thanks!

Hi chaps. Is the 4071 also subject to noise floor issues on low level dialogue with newer SMs, as the 4061?

Are there any UK users of movieslate? In the UK, we do not use the same slating convention as in the US with Scene/Take number, the scene number being followed by a different letter for each different shot. We use slate/take numbers, the slate being an actual number (no letters) that starts at 1 at the beginning of the shoot and increments with each new shot until the end of photography, independently of the scene number (which gives opportunity for some thrilling final slate guessing sweepstakes, btw, but that's clearly OT). If anyone uses movieslate in the UK, i'd be curious to know how you go past this limitation. I guess if all the vertical labels are customisable (can anyone confirm whether this is the case?), you could turn the original 'scene' label into a 'slate' label and the original 'slate' (or 'seg#') label into a 'scene' label. Providing that the auto incrementation wouldn't be messed up, but from what I've read so far this should be possible. The new 'scene' number would never have to be auto-incremented, just entered manually for information purpose, the new 'slate' number would only have to be incremented numerically when you tell it so, and the take number would only be incremented automatically at the end of each take. The scene/take file naming convention could still be used, except in this case it would be the actual slate & take numbers (but the slate would be in what movieslate originally meant as the 'scene' box). The other advantage is that in the sound report, you could have the slate column and the take column next to each other, which I'd prefer, since we identify shots by slate & take #. I've been wanting to go paperless with my sound reports for ages, and it seems like movieslate really is a fantastic tool for this, but I just want to make sure it is viable for mixers in the uk market (I've not bought an ipad yet, as well, which is an even bigger reason to be sure this would work as I'd like it to!). Thanks chaps!

Filming on location, Istanbul rooftops. Views over Suleyman Mosque from the cart

Thanks everyone. I think I'll be ok. Jon, I don't have anything on ch69 anymore! Erkal, it's a UK feature shooting over there for 4 weeks and then back in England. Do you mind sending me your email address via private message? Could be useful to be in touch with you if I need anything over there. Cheers

Hi everyone, Going off to Istanbul in a few weeks for a little while. I'd like to know if anyone has used UK Lectro block 606 radios over there with success? These cover UKch 38, 39 and 40 (606 to 630). I've read reports here that US block 24, among others, was fine there, which is partially good news as it overlaps the higher end of UK block 606. Any further info much welcome! I'll bring back pics, promised Thanks in advance

Hi guys, I've got a shoot coming up, on which we will spend a number of days filming in a room with a fairly big skylight (something like 3x3 meters, maybe). Maybe 1/4 of the entire dialogue of the film is in there, so it needs to sound right. This is in London, so the probability of rain at some point during those shoot dys is quite high. I'm thinking of getting some hogs hair and laying it down on top of the skylight (they don't need the natural light coming in, supposed to play for a cellar), maybe 2 layers. This is something I've never done before, only read about here and other places. I'm wondering where to get hog's hair from?? In London (or UK) in particular, but also in general just what kind of places (DIy stores?). Any help would be greatly appreciated! Thes shoot's starting in 10 days, but we're not in that location before a good 20 days. Thanks Ludovic

Hi there, Ludovic Lasserre here. Eventhough I'm French, I've made London my home for over 4 years now. Who wants to live in Paris anyways... I'm mainly a mixer on indie features, though do a fair bit of doco & corporate as well. (I did the uk unit stuff on Waste land, which was one of the Oscar nominees for feature length documentary at the last ceremony). I've been based in Highbury & Islington, London, for a while, but I'm now in the process of buying my first flat, which is on Hornsey Road. (exciting times, especially at 25...!) Been reading jwsound (and ramps before) for ages as well. Glad to have a litle section where we have something else to read than pages & pages on the FCC, local 695, IATSE, the superbowl, Michigan tax incentives, or 29.97 TC... only kidding of course! Good night!

Hi guys, As a (partial) side note, does anyone know where to source equally good sound blankets in the uk (or europe)? black on one face white on the other, with precut holes (gromets?) on the sides for hanging. Essentially the same as Jim's link. Thanks!

I've done 7 features on the Red One (double system of course), I know it inside out, it's the Epic I'm wondering about at this stage. And in particular the Epic as of July 2011, not back in march since I've been told there have been numerous firmware updates since then, and of course they potentially make all "old" info obsolete. I should have added that all I really care about is fan noise, since that's the aspect that has the biggest impact on my work on this production, rather than the fact of jamsynching it or not, sending audio or not, etc... Though recent info on those fields would benefit to others I'm sure. This production hasn't requested any of those and since there were no test days and still only 6 Epics in the country, I'm not promising them anything. Will play around with it and see whether this can be achieved, if not to hell with it. Thanks guys

Hi guys, Has there been any more feedback on shooting with the Epic, since march? I'd assume there would have been quite a few firmware updates since then, and those news are probably not so much up to date anymore. Anyone encountered one recently on a shoot? How's it behaving now? I've got a feature starting monday, shot on it. I won't get a chance to play around with it a bit until sunday, apparently. The DP's a friend of mine so that'll help. Apparently he's had it out on sync sound shoots already and it's been fine, but of course he's not the one wearing headphones...

I've mixed 5 features shot on Red so kinda consider myself a Red "veteran", however I did come across something new on my last shoot. It was a Red owned by an individual rather than a hire place, but he was hiring it out to the production. Apparently this guy had actually gone in for heavy DIY and changed the original fan for a computer fan, or something like that... No doubt this would void any sort of warranty, but the camera guys mentionned the owner was close to the Red UK people, so maybe he did it with them, who knows... Anyhow, the result (in silent mode, of course) was a dramatic sounding fan when not rolling. As in, not necessarily louder than a normal Red fan on silent mode while not rolling, but the "tone" of the fan sound was different, sort of sounded like the fans were really clogged with dust (visually they weren't. And I've heard dusty Reds before, while they sound different to a clean fan Red, this was definitely not it), and also the "dramatic" apect wasn't constant at all, it just came in and out randomly. Quite distracting on set of course, even more so than a normal Red fan on silent mode. However, while rolling, I have to admit I did not encounter a single camera noise problem on this shoot, and I was quite surprised, tbh. One scene in particular was a soft dialogue intimate scene in a rather small bedroom (covered in only a two-shot, loose MCU as far as I remember), and it sounded great. In auto mode, that camera didn't sound any different to other Reds. I kinda have a feeling the owner didn't intend for it to be switched to Silent mode, but didn't get a chance to meet him or chat with him. Regarding atmos (room tone), I always ask for the camera to be rolling (when shooting Red) for small-ish indoors locations, and generally get it. Some ACs are initially surprised I don't ask for it to be simply switched off, but they undesrtand when told that if I hear a bit of camera background in the sync takes, it becomes part of the sound of the location, just like HMI ballasts or so.

He lied. They all make noise, even on the quietest mode. Some, when the fans are dusty, make even more. Of course, it only takes a small & quiet indoors location, with soft dialogue, for it to actually become audible. Hence why the majority of shooters (& particularly Red owners, who've spent $ on it) maintain the camera's quiet, and your ears are gone... How would that guy know? Is he the one wearing headphones?

This is a ridiculous measure. (and yep that's a foreigner's opinion, since you were curious about it) What exactly are they trying to stop? Honnestly, actual terrorists must be laughing their asses of at that. Not to mention that this is exactly the kind of reaction (and restriction of liberties) they want to create... This is a measure that is potentially very harmful to your economy while not actually doing/protecting anything. Even if you study the point of view of someone who would actually want to harm any country in a terrorist way, it seriously doesn't take a lot of brains to find easy ways around any of that crap. I mean, if you're actually scared about terror attacks, well get rid of 6 billion earth inhabitants, at least there won't be any threats after that! jeez... I live in a city (London) where the subways was bombed as well shortly after 9/11. Several of my country (France)'s embassies (including in the EU) have recently been targeted by "ink cartridge explosion" packages. Does that stop anyone from carrying on living, taking the tube (subway), etc...? No. Just live with it.

Well I'm French but live & work in London, UK. I have never seen slates like this one indeed in France or anywhere else, though the writing does suggest that it would be the mixer's name, as opposed to any sort of take, scene, sound roll or slate number. The french system uses scene/shot/take numbers (as in: 3rd take on the 2nd shot for scene 47, for example), not slate numbers like in the UK (which is what Jeff's talking about, I believe). However, like in Holland, the mixer's name (along with rerecording mixer and sometimes supervising sound editor) are DEFINITELY all the time in the opening credits, and pretty early on as well (basically, usually after DP & production designer). Also, in the credits at the bottom of french film posters, those same names are always there as well. It just makes sense, doesn't it? I mean those people contribute in a very important way in the way the film's carried over to the audience. Especially in Europe where filmmaking tends to be more story oriented than fancy vfx & action. One thing that I keep finding really odd (I had to seriously censor myself not to say "outrageous") is why the casting director's name is always in the opening credits of hollywood films?? Seriously, who cares?

Wow, really? Do all of you guys disregard UK ch38 & 69 legislation, then? I mean, being outside the law's one thing, but isn't there all sorts of other stuff going on on those frequencies? Of course being strictly limited to ch38 is a complete drag when you're considering both talent mics & hops...