mikewest

Many thanks Phil. I think the build is not too difficult and with the NZ $ at 50cents to the US $ a PW antenna is $1000.00 of my money. To all interested have a look at this: http://www.rac.ca/tca/2006-01%20Helix%20Design%20Calculator.html Have found some interesting stuff on the web on helicals. Construction techniques and materials and stripline design. Will be having a go next week. Cheers mike www.mikewestgatesound.co.nz

Sorry Dave, I was questioning a post that relied on line power. Cheers mike www.mikewestgatesound.co.nz

All my jobs in NZ are PAL hence 25fr I also service a lot of big commercial shoots (on film) that are NTSC. Take the stress out of your life and always ask what is needed! Do not guess, define or suggest! I always communicate with post and let them decide. Also with film it is important to define the syncing process. Is it in telecine or Avid? It makes a difference in delivery for the syncing process. They decide - you comply!!!!!! mike www.mikewestgatesound.co.nz

Cheers Phil I will report back Mike

Hi Phil, I'd be interested. You can contact me via my website Cheers mike www.mikewestgatesound.co.nz

Hi David So as you use mainly AC power do you use a UPS to prevent unexpected cuts? Cheers mike www.mikewestgatesoud.co.nz

Best ask any production what they precisely need and supplied on what format. A "transcription" copy can serve as a backup to camera sound especially if feeding by radio. Also as source of material for production of a book (I had this on "Victoria's Empire") So is it an audio a CD wanted or BWAV files on CDR I understand the love of camera guys preferring rec run code but the RED does allow a second timecode to be recorded so free run ot TOD would allow logging to be accurate. My thoughts so far mike www.mikewestgatesound.co.nz

Hi Scot, I started off always ataching a jammed Denecke SB1a to the RED I was subsequently told that the code was not significant for 1 camera shoot. Two cameras is a different matter I am told. I always use also a timecode slate as I am aware that editors love a sync point rather than try to align code especially if any offsets may be present. I have also learned the importance of the shooting being conducted film wise. Sound should roll first then camera and slating. If camera rolls first, the editor has to "make up" the sound file to match the longer length at the start of the video file. ( all this from an editor) My main area of focus has been the different "video split" playback systems. As I need to see this fed back through my headphone system I need to appreciate what is being used and how I feed or interface with it, let alone be ready to adjust audio in the event of the video being delayed by any system latency. I have learned a great deal from about a dozen commercial shoots and cannot wait to see multi camera RED shoots happening here for drama. Kind regards mike www.mikewestgatesound.co.nz

I record on an HHB Portadrive or a SD702T I use a timecode slate jammed to the recorder. I record a guide track on the RED by radio link Jamming the RED with timecode is only relevant if two cameras are being used mike www.mikewestgatesound.co.nz

Feed the camera direct from your mixer. Backup interviews and dialogue on the PD-4 (48K16bit does not matter - it's a backup) Also use your PD-4 for wild stereo atmos and other stuff. I have done many shoots with the RED and love it! mike www.mikewestgatesound.co.nz

Sadly they never developed things further. I love the machine and it does offer a 6 track mixer built in. Paul Issacs who came up with the initial design worked for me in a sales and rental company here in New Zealand, but now works for Sound Devices in the USA - great man!! I visited HHB 3 times, its a clever business. Henry the team leader died a couple of years ago and HHB are not investing any more in further development. I guess that competition have overtaken them with less power hungry machines. Kind regards Mike www.mikewestgatesound.co.nz

Good man Don!! A third person ads: !/ efficiency plus a second boom. 2/ can deal with minor isssues allowing rehearsals and shooting to continue 3/ is available if the main boom is late or ill. 4/ allows training of a new person to the industry Cheers Mike www.mikewestgatesound.co.nz

Hi Richard and Jeff, Thanks for your comments. I had the case made for the Sonosax and then assembled and wired all the interfaces. It includes power and signal form two Garwood transmitters ( Program and boom prog with comms) and also 8 ISO outs for jobs that need it. Jeff, I originally used the split case for radios and belts but now it's my interface odds and sods!! Great minds think alike maybe!! Cheers Mike www.mikewestgatesound.co.nz

A large scale commercial shoot I recently serviced. "We need 10 men on radio mikes, two boom operators, all on discrete tracks, plus a radio fed Anchor bull horn for the 1st AD" plus I put the clapper loader on a radio for convenience, plus 12 radio headphones for director,agency,clients. Hence 2 x HHB recorders, my 8 channel Sonosax SX-S. For a rushes bash mix, my SQN 4S into a Sound Devices 702T jammed to the HHB's (all dialogue on Track 1 and clapper loader on Track 2) A whole day to plan the RF's and rig it all and two days shooting. The invoice was a gem!!!!!!!! Regards mike www.mikewestgatesound.co.nz

I agree the new Rycote mounts are the way to go. The CS-1 (i love and have two of them) is very LF sensitive as it does not have a bass cut. A couple of years ago I had the unusual experience of confronting the 2 Sanken design engineers with this reality at the Sanken factory in Tokyo. I told them of the problem and asked them why the CS-3e had a bass roll off. "It's a boom mike" was the answer. "So what's the CS-1?", asked!!!!! No reply!!!! Oh well that Japanese thinking! Regards Mike www.mikewestgatesound.co.nz

Many years ago I discovered that there was more fun and money to be had operating sound equipment than fixing it. However I still fix my own equipment (and for others) so I would go back to that as a task I love. Cheers to all Mike www.mikewestgatesound.co.nz

I used block 22 and 24 OK in HongKong but It's a busy city RF wise. Best use the scanning facility or take a small scaner to avoid conflicts. Don't worry about the power levels. Regards Mike www.mikewestgatesound.co.nz

I have long used a pole sold in hardware stores for window cleaning functions. Height, well basically to raise aerials above nearby obstructions. I have often found on a large set that after I have parked my cart, a load of lighting stands, ladders then an army of people appear in fron of me. For actors in really wide shot I usually raise the pole to max height. On the pole nowdays, a Yagi originally sold be Lectrosonics, plus their "Swiss Army" foldable dipole. There's a picture on my website of when I had the aerial pole mounted on the sound vehicle. Cheers Mike www.mikewestgatesound.co.nz Mike www.

It;'s a French film Pretty full on I have a copy Mike www.mikewestgatesound.co.nz

There's an interesting sound from Jupiter on the NASA site Mike www.mikewestgatesound.co.nz

Does anyone know or use John Peter (or is it Jon) I believe he is in the USA If you have comments or details please email me direct Cheers to all Mike www.mikewestgatesound.co.nz

Well said Jeff as the concept is both powerful and valuable to all involved. During my business relationship with Sound Techniques here in New Zealand I always fed back user based information to Fostex, Sanken, HHB and other companies that was essential to improve and develop their products further to suit the practical needs of workers in the field. All the best mike www.mikewestgatesound.co.nz

Jeff, I used Scotch 208, aligned my own Nagras (4.2's) and achieved amazing specs for an analogue system that had no noise reduction and demonstrated such low print through. Yes we all turn up now (at times) for jobs where a $4,000 camera is used and there you are with a minimum of $20,000 worth of sound equipment. Nevertheless I know that capturing and recording good sound is far more difficult than so many people realise until after the event, and then it gets expensive to fix up. It's not difficult to point a camera and cover 1, 2, 5, or 50, people but when it come to sound coverage it may take a a great deal of skill, equipment and even note than one person to manage the sound capture. Good sound is not noticed but bad sound is!!!!!!!!!!! Fondest regards Mike Westgate www.mikewestgatesound.co.nz

Hi Jeff and everyone. A prosperous new year to all, a steady flow of interesting work, sympathetic UPM's and actors that know that their job is to be seen and heard! Fond regards mike www.mikewestgatesound.co.nz

It's up to the first assistant to deal with this. The problem guy will burn his own boat when time is wasted or lost due to last minute requirements not being practical due to lack of actors or props etc, or when you do not make the day. But never cross swords with him! mike www.mikewestgatesound.co.nz