Keenan925

VHF!?!?! Now I'm gonna start scanning for those frequencies for the next few jobs and see how busy they are. I wouldn't mind seeing what some SMV's could do when they are working in the VHF frequencies.

Awesome! thanks

I was gonna comment on how great the CS-3e is, but see this is the wrong thread... I second Jeff's post. THIS IS NOT FILM SCHOOL!!!

Hey Paul, I'll send an email out to some of my other friends but I should be there Keenan

If you guys want an example of mixing the wired boom and lav, check out this little trailer where I was the production mixer during August of this year. My friend who cut it used the production mix on the camera I believe. If you listen closely you can hear our teachers lines are a little out of phase along with the argument that takes place outside at night. The rest of the trailer is just mostly the boom with a hint of lav at the most. I had everything ISOed so I'm not to worried about the final mix, and also thanks to Wyatt Tuzo for selling me his old AD 146 board which came in handy on this feature. http://youtu.be/_i9zYti8UWw Keenan

nice Max, who was your crew? Keenan

Thats great Michael, I used one of those clips for a women's workout video Keenan

HEy Tom, What will be involved during this shoot; ocean, swimming pool, river, Wetsuits? In my experience I used the countryman EMW and B3. They kinda worked as long as they don't fill up with water because at that point the element can't do its job. It took a few seconds for the lav to clear but once they did it sound pretty clear again. I tried a experiment in my bathroom sink before I got to the beach. You could try your B6 or Senn MKE-2, and I'm sure the COS-11 could survive too. What Transmitter were you planning on using? I made water packs for my Lectro SMV's transmitters but found that once the transmitter went a few inches out water its signal was lost and it dont matter what lav I was using. I suggest trying Lectro's new WM or the MM400c I wish I could have tried those on my gig. I'd say just boom it and tell the production that is the sure fire way to get sound you won't want to kill yourself over, haha. Keenan

Thanks guys, it turns out she had the newest Mac OS which has some bugs with Pluraleyes. She tried her old system and it all synced up first try. Done deal and on to the next one

Is there any reason why Plural Eyes would not work with 5D footage? I was the recordist for a gig last weekend where I was teamed up with a crew of Photographers and producers who knew nothing about shooting video or the importances of a post workflow plan. We were shooting with two 5D and I was sending each camera a scratch track via Senn G2 and I planned on slating everything myself. I got a slate in on the first take after the director/operator sneered at me. After that the director/operator would just start rolling without telling me and ignore my verbal require to swing the cameras over to me for a slate. I voiced my concern with the producers but as we all know it didn't go far. I received a call from the editor who says the DSLR footage and my files are not syncing with Plural Eyes in her FCP. When she hits sync in Plural Eyes the DSLRs video and sound line up at the tail of my .wav file. She said can see where the scratch track and my .wav files should match up in the timeline. She tried a few clips from another project with a different camera and different recordist, and Plural Eyes synced everything. I am not an editor and I've never heard of this problem before. Has anyone ever experienced this problem and was there a solution? Keenan

email sent

Congrats Phil, I will miss your old ride Keenan

Most of union commercials in SF I've been on have been $550/10, and the non-union vary from $500-$600 and $600 is a good day. Keenan

Yo Alan, please excuse my upside down photos, my laptop is on its last legs. the Acoustics were pretty awesome considering the size of the room and the location. Booming was quite manageable even though there were all those wardrobe changes, also helps that I'm good friends with the Gaffer and DP.

I recorded the first of hopefully many Squareup commercials yesterday. The job was all last minute, 10 wardrobe changes, along with the location being on one of the noisiest streets in San Francisco. As you can see in the picture and to my pleasant surprise the cafe we shot in was acoustically treated on the ceiling. Why can't all cafe's have ceilings like this, it made my job very manageable even though I had to rewire the costumes a bunch.

Very neat Alan, glad David had you there to help

When I boom, I bring tape, a smile, cans, hat, Oakley shades, water-bottle, and a sixth sense of how to help my mixer during hard times on set (good sleep the night before). I do usually bring my booms poles and boom mics, but they sit in the car as backup. Monitoring, Phil brings his wireless MM-1 kit so I get a direct feed of what I'm doing and he can still talk me in to position if needed. Its such a great rig I own one as well.

I second that Alan