MatthewFreedAudio

All of that for $400? Yeah, no wonder everyone else is booked.

More than likely something is broken.

The SSMA connectors can be pricey little pieces, even more so when they are right angle. I just bought the proper crimping tool and made all my own coax cables saving me a ton of money.

Tim, perhaps a different approach you could have taken was saying "the lead sound mixer on this gig seems to rely heavily on wireless and rarely uses the boom. It's not what I would do but what are some situations where the boom would almost never be used?" Just a thought.

The boom does scare me. I'm always afraid that fuzzy thing at the end is going to bite me. I'm also afraid of having both arms above my head. What happens if I can't get them back down? What if they get stuck up there?! Seriously, the boom is nothing to be trifled with; it is one mean, ignorant son of a bitch and I would never turn my back in it...much like the OP.

The 416's reach is quite a bit less than a CS3e.

A lot of people accomplish this by simply running two batteries. For example, an NP1 in a cup wired directly to the mixer and a second NP1 powering a BDS which is powering the bits and bobs. I've been doing this setup for quite a while and it works well.

JonG...where are you located? There may be someone in your area that has that cable. I have one you could rent if you happen to be in the Dallas area.

http://www.trewaudio.com/store/Military-fixed-wing-and-all-helicopter-intercom-tap-CAAVMIC.html Doh! Jack beat me to it.

There is a great app called Google. Check it out.

I always charge full rate for a cancellation less than 24 hours in advance and 50% for more notice. I don't care if the circumstances were supposedly beyond their control, they need to plan an budget accordingly. That is exactly what the producers' job is. The only time I make exceptions is with really good, very consistent clients...and then I just feel out the situation. A good producer I worked with regularly once told me "hell yeah you should charge me because I'm charging my client for your time at full rate!" This was a commercial shoot where the end client had to cancel last minute. And as the others mentioned, it is a business. Bringing emotional or intangible aspects in to it is generally frowned upon but hard to avoid at times.

Keeping in mind that the microphone on your phone will severely limit its accuracy.

The rule is to slate, the exception is to skip it. Amateurs skip the slate until they learn how important it is.

That DP should continue rolling. If they are cutting just to reposition the DP is making the post process a lot more difficult than it needs to be.

I rely on timecode but it doesn't hurt to also throw up a clap. A timecode slate would be best but a standard clapboard works well, and did for decades.

Holy crap the 664 is huge! An they think that's intended for bag use?

You seem to have all the answers. Apple should bring you on in a leadership role. Let us know how that works out for you.

Because Apple has done a better job of quickly correcting their mistakes, generally faster and with a better solution than their counterparts. Flash is going the way of the dodo and and you can download a free YouTube app. There were numerous good reasons why Flash was not integrated into iOS.

You are recording mono B-WAV files and the files are the different tracks. T04_1 is take 4, track 1. T04_4 is take 4, track 4. At least that is what's going on based on your description. The 788t can break up long takes based on the max file size. Check that setting as well.

What droves are you speaking of? I've seen a few on sale but not "droves." Some people find the SD gear fits their needs and some people find the Zaxcom gear fits theirs. Great! Go buy whatever pieces of gear fits yours needs and your business.

Batteries are always billed. Any expendables such as batteries, moleskin, top stick, etc should be billed to production.

If your Zaxcom wireless were freewheeling then you didn't have it set up correctly. As to the OP, a better wireless system will help. Keep yourself as close to set as possible and coordinate your RF.

I use the AES I/O on my Fusion for all my wireless. I've also used the AES on Sound Devices recorders for some peculiar post production gigs where I had to come out an Aja card. The direct outs are a post gain/pre fader output for that particular channel. They allow for a signal to be recorded separately from a mix track. Typically called the Iso channel (isolated). Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

PM sent regarding gear in Dallas. 19, 21, and 26 all work well in Dallas. 22 and 25 not as well. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

It's better to have one too many inputs than one too few. However, it completely depends on the gigs you're doing. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com