mikewest

It's sad that so many A/C's know nothing about fan, audio and t/code menus in the cameras they look after! mike

Fascinating Jay, thanks mike

I've taught at a remarkable film school for 20 years and loved every minute. Many people I work with in the NZ industry are past students but are now sound guys and gals directors and also DP's Teach details of the task, the conflicts and solutions and tell lots or war stories! mike

I'm terrible at coiling cables to a point where my boom ops tell me "don't touch the cable"! My excuse is usually that I bought it and wired it and I do not like getting my hands dirty. mike

Done so many! Close miked and you would not tell if it's not been done in a voice booth Mike

Orca good for light rain if shooting is possible Otherwise a Rain Slicker is the ultimate solution I bought one for shooting at the Victoria falls in Zambia so always ready! mike

Ask very experienced feature boom ops on this site My good friend Corrin Ellingford uses a Panamic Maxi All of Lord of the Rings and The Hobbit too But now as Lectro plug on transmitters avoid any cables who cares!!! mike

Sounds good and use a Sanken CUB-01 as the plant microphone It will amaze you - I have three! mike

Buy an old one Spray it Charge to production mike

The real answer it to use it carefully and make no fast or jerky movements. A cabled pole is not the choice for serious drama work. Simple mike

There is interesting discussion about this issue in the sound editors round table discussion in the General Discussion section that is worth a listen. This causes me to wonder why it was not and issue when I was mixing multiple radios and a boom to one track during my Nagra 4.2 days thirty years ago?? mike

Very true Philip Less rehearsals, multi cameras, wide/roving and tight Hence the need for lavs and maybe one boom for c/ups/2 shots or acoustic Just look at any UK or US series on Netflix, quality stuff but lavs a plenty! Oh well with 600mHz being overtaken here I may end my 40 year business sadly! mike

Hi RC I agree totally! Do you want to email me direct?? mike www.mikewestgatesound.co.nz New Zealand

For a walk and talk particularly in the acoustics of a corridor I would use lavs. Here in NZ a scratch track is always required by post and not decided by the DP Additionally time code is a usual requirement and not decided by the DP The size of t/c boxes has reduced but as I own 4 Denecke units already the last thing I am willing to do is buy a 5th unit to please the camera department that often do not even know the menu in the camera for setting t/c and audio! mike

Wow what a listen! I roughly understood what they did but without any contact with with post it was so interesting to hear about their techniques using current technology. On the other hand they had pity for us location workers and did not seem to fully understand the technology we use. mike

To be more definitive: A mix track or a split mix. Cable good for static studio shoots but an radio hop is easiest for moving camera situations, but then you need to offer a recorded backup just in case or radio failure. Additionally then time-coded files and a TC box on the camera may be requested. Always check what is needed! mike

I used an early Porta Brace case but it was not stable hence the move to Orca. I use Orca cases for my 664 and 633 but they are fitted with Porta Brace shoulder straps. mike

It's a balance between setting the height of the 664 so that the trims are accessible but yes the card door can be a bit difficult to fully open by you usually access that only a few time a day. Guess that does not help a lot but Orca make a fine product! Cheers mike

Was it used toilet paper then??? mike

Some A/C's know how and have skill and patience Some have no idea at all with menus Their priority is getting the camera up and running and then the DP is calling for the camera and a lens Even worse when sound is called later (to prevent overtime) mike

Don't point your boom at the gun but at reflective area Post may well use your work as a guide and lay in library shots with more impact and detail! mike

Hi Tony Good comments Yep I have owned CS3 but far prefer the CS1 and CS2 The CS1 has the most remarkable rear rejection but is bright and has good reach Did a job last year alongside an old friend who was using a CMIT and di not rate it at all After all my decades of drama I don't do much now but yeas a CS1M makes great sense. I did visit Sanken on Tokyo and had a session with their two design engineers. I noted that the CS-3 had a bass cut switch but the CS-1 did not - no reply! mike

No contracts on small jobs just email agreements I think my "Sadly now we have to deliver on a daily basis but I guess if an invoice is not settled us sound folks still own the mechanical copyright and could legal settlement" idea is the only leverage mike

I love my CS-1 and CS-2 Sankens as well as my CSS-5 Looking at the polar response the CS-M1 has a slightly wider pattern than the CS-1 Again looking a front to back ratio CS-1 is -14.5dB @ 1Khz and -24dB @ 4 and 8 kHz CS-1M is -10.0dB @ 1 kHz and -18dB @ 4kHz and -16dB @ 8kHz Hence it is more of a cardioid but at last a much better roll of below 100Hz No doubt a very good choice for interior drama work mike

I must admit that I did just once many years ago! I recorded a tax dodge film in Queensland Australia. The producer (now deceased) was a very grumpy man. Late in the shoot he closed our hotel account and flew back to Sydney. The dear director instructed to us the eat and drink what we wanted so we carried on to the bitter end on Lindeman Island. I travelled back to Sydney to find no recent payment in my bank account so I flew back to NZ will all the production audio (on tape). Some time after Christmas I received a polite message from the producer asking for the material so I suggested that I would do all the sound transfers here and that enabled me to add another $1000 to the final invoice! Invoice paid and I sent the all the audio to Sydney. Sadly now we have to deliver on a daily basis but I guess if an invoice is not settled us sound folks still own the mechanical copyright and could legal settle. mike