MatthewFreedAudio

I have quite a bit of experience working with Pilgrim. Feel free to email or PM me. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

The problematic iOS update is 8.0.1 in regards to some users experiencing issues making phone calls. It was released Wednesday morning and pulled shortly after. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I agree that the shoot should never be hostile. And, 99% of the camera ops I've worked with are very professional and great to deal with. But that remaining 1% I have no patience or tolerance for them throwing up roadblocks to myself and others for doing our job. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Why do some sound folks let the camera department steam roll them? If the cam op is whining about the needed equipment to get the job done first be polite then tell them to shove it. Or refer them to a knowledgable producer or post supervisor.

Keeping some compressed air cans handy will help. This might also be a good time to rent equipment rather than use your own. VER is practically giving away sound equipment these days. Their gear sucks anyway so a bit of rain and dust will probably actually do it some good. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Is your Google broken? Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I have a Sanken CSS5 and it's a fantastic mic. It is more rugged than the 418 and sounds better. And if you're interested I do happen to be selling mine only because my clients haven't needed me to record stereo for a long time.

Great app! I would also suggest a meal penalty check box or auto-fill for that. Manual check box would be good because sometimes the crew graces 15 minutes. Also, a turn-around penalty similar to the meal penalty. Having this be editable because some companies are 8 hours, some are 10, some are 12, etc. I like the simplicity! Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

That's because they are students who, more than likely, don't know the difference between good audio (and what it takes to get good audio in a variety of situation) and bad audio. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I agree with Bernie and Rado. Placing a lav on the accordion itself will only yield a lot of mechanical noise. Place a mic low, pointing up so it's out of the shot. I would use a cardioid rather than a lav because they are typically omni. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

In Colorado for the Pikes Peak Hill Climb shooting with my regular show (Fast N Loud on Discovery) Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I set up an almost identical situation a few years ago for a show called Big Shrimpin on History. I used an ALP620 on the back deck of the 100 foot boat and a SNA600 in the wheelhouse. They were both going to a Lectro Venue system. Two camera guys on the boats, no audio guy and we waived goodbye and saw them again a few months later. The ALP620's were mounted on a pole on the back deck and I did pretty much exactly what Larry suggested: bag them with thick poly and do a few zip ties on the cable to seal it up. I through in a few bags of that moisture remover (Larry said the name earlier in the thread and it escapes me now). The antennas came back in perfect condition with no damage to the connectors. The mafer's that were holding them to the pole and which were not covered were rusted together and had to be cut off. If you want to shoot me an email I'll be more than happy to walk you through some of the other aspects of that show that we found useful. Matthew@matthewfreed.com Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I'm pretty skeptical of this particular article. The author gives a lot of vague references to studies but never makes any concrete correlations. He says "a study in Israel found 'XYZ'" but he never says what study or how the study was conducted. He cites their supposed findings but for all we know it was a freshman college students English Lit paper. The author goes on to tout his own credentials but doesn't link any of them to original research. And, in any science field, peer review is critical. If his peers are finding flaws in his work then that raises some red flags. Of course, his peers may be wrong but we still haven't seen him put forth a solid argument showing a control group, experiment, and repeatability. I don't completely think this guy is coming out of left field but he absolutely needs to refine his argument. Now, I'm going to put my cell back in my lap and cook my nuts a little more. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I love that pay is now a selling point for a gig rather than a given.

I charge a full day for travel unless I can book another gig for that same day (and how often does that happen?). The longer the gig the more flexible I am on kit rental for the travel day. I firmly believe it should be a full day pay for both time and gear because it's not like you can make money from another gig on the same day. But, you are up against some companies like LSC or VER offering one-day weeks on gear rental and people willing to say they're local in some city that barely has a gas station. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I've been using HiTech 9V lithium-polymer 720mAh batteries in a bunch of UM400a transmitters and I get 8-9 hours of run time per battery. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I'm watching the Olympics with some family and the topic of the crew came up. We were wondering if the crew (sound, camera, AC, utilities, etc) are provided by the host country, the Olympic committee, or some other means? We were also talking about the video and audio feeds and how those might be handled. Each country may want to follow different athletes and different sports so a common press feed isn't likely. Does NBC (for the USA) receive split feeds so their people can mix audio/video for the US audience? How do other countries handle coverage? Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Evidently you don't buy a lot of ENG equipment. Some of the gear comes with an AC cord some does not. Because the gear is generally powered via DC batteries the AC power line is a secondary concern. Even as a studio guy you should know the power requirements of the equipment and how to read the manual and the sticker on the equipment. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Try using the Marantz Tube Recorder instead. Sounds like production has a location problem, not a sound problem. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

"Slide Rule" noun. (slid rool) The set of explicit or understood regulations or principles governing conduct when performing the Electric Slide (see: Urban Line Dance). The rule states that an individual or group must have consumed copious amounts of alcohol prior to shaking ones money maker on the dance floor. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Do they want a mixer or do they want an A2? Because those are separate skill levels and positions. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Sebastian, you're in luck! I have a custom-made converter box especially for instances like this! I can make you one with the proper timecode settings for the low price of $265.99. I will need payment prior to making said converter box. Cash only, please. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I'll be there for sure! Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

A clapboard will be your best method for sync seeing as how the 552 doesn't generate timecode. The MM transmitter will do a good job when not in the pool and the boom will be the only way to get dialogue when the host is in the water and comes to the surface to talk. Keep in mind that all around the pool will be wet and slippery. Do NOT wear a harness with all your gear strapped to your chest near the pool and try to swing a 19 foot pole. That's a recipe for losing your footing and badly hurting yourself and/or going in the water yourself. Tell production they have to hire a separate boom op, no exceptions. If they refuse, they don't get dialogue when the host is in the pool. As for the salt water and it's effects on gear. Immediately after you're done shooting power down the transmitter and rinse it with fresh water. I would then remove the battery and give it another good rinse. Let it thoroughly dry before putting a new battery back in and powering up. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

You searched for two hours and couldn't find an answer to a very basic question that has been covered here, in the manual, and on other forums ad nauseam? I just did a quick search with these words "canon 5d audio input channels" and the first result answers your question. I didn't even bother to read the other results because the first one did it. You aren't looking for help. You're looking for someone to do your work for you. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com