wolfvid

Around the early 90's the IATSE set up an online discussion forum. Didn't last for long. They soon discovered that if they were going to allow the members to speak, they were not happy with what they heard... and they quickly shut it down. after all the IA is a solid top down organization. that started FYIA run by the "lone rangers" (opposition to Tom Shorts iron fisted rule) which withered because it was the critics talking to the critics - and it was spyed on but ignored by the IA. Well, more than 15 years later, the IA showed its face again... this time on Facebook. See http://www.facebook.com/iatse. you can read Facebook without joining. Take a look at what is currently the 3rd item down... about the SOPA and Protect IP legislation, which is the Producers attempt to recruit the IA to help the studios control the internet... and then click where it says "View All Comments" so you can read them all. Not exactly what the IA was hoping for. but encouraging that folks know what SOPA is !! The Stop Online Piracy Act: Class War in Cyberspace Monday 5 December 2011 by: Dean Baker, Truthout | News Analysis (Photo: Kaptain Kobold; Edited: JR / TO) The One Percent and their employees are masters of word play. They turned the estate tax into the "death tax," life-saving health and environmental rules became "job-killing" regulations and, of course, when it comes to taxes, the richest of the rich are now "job creators" who are supposed to be exempt from paying taxes. Given this track record, it is hardly surprising that a bill that would require every web site in the country to become unpaid copyright enforcement officers for Time Warner, Disney and The Washington Post comes packaged as the "Stop Online Piracy Act." While the name may lead the public to believe that Congress is trying to keep our email pure and our computer screens safe, the real story is that the One Percent are again trying to rig the rules so that they get as many dollars as possible from the rest of us. The Stop Online Piracy Act (SOPA) would place an enormous burden not just on Internet giants like Google and Facebook, but any web site that allows people to post content or includes links to other sites. An owner of copyrighted material would be able to go the Justice Department and claim infringement and request that the whole site be taken down. While sites are already required to remove material that is determined to be infringing under the Digital Millennium Copyright Act, the SOPA requires that sites in effect pre-emptively screen material for potential infringements. If they fail, they risk having their whole site taken down for a period of time, in addition to paying damages to copyright holders. The question that serious people would ask is what problem is the SOPA intended to address? There is still plenty of money being made by online distributors of music, movies, books and software. The problem seen by the top executives at Disney and the other promoters of the SOPA is that they want to make more. A substantial amount of copyright-protected material does slip through the system, as does an even larger amount of material with ambiguous copyright status such as a homemade video with parts of a copyrighted song or material whose copyright may have expired. The big entertainment companies want to impose large costs on web intermediaries (which will be passed on to consumers) and make it more difficult for people to gain access to totally open material, in order to make them pay more money for their copyright-protected material. Although the SOPA strategy of reducing access while raising prices could fit the dictionary definition of "job-killing regulation," its advocates have the incredible audacity to be touting the 19 million jobs at stake. People really should take a moment to look at the industry's web site to see what might well rank as the most outrageous misrepresentation of economic reality ever to appear in a Washington policy debate. The basic story is that if an industry is in any way directly or indirectly dependent on the output of a copyright protected industry, then the jobs in that industry will be put at risk if Congress doesn't approve the SOPA. By this methodology, all the jobs in the shipping industry will be at risk if we end the tax credit for solar power, since some of the materials used in solar panels are imported. This is patently absurd, but if you work for the One Percent, you can get such arguments taken seriously in Washington policy circles. In reality, the higher costs that the SOPA will impose on consumers both directly and indirectly by raising costs to intermediaries, are money out of their pocket. The additional money that will be collected by the entertainment industry is money that will not be spent in local stores or restaurants. It's true that some of the money earned by the entertainment industry will get back to writers, musicians, and other creative workers, but this will be a very small amount compared to the additional cost to consumers. If we had forward-thinking politicians in Washington, or economists who didn't sell their services to the highest bidder, policy would be focused on devising more efficient mechanisms for supporting creative work. Copyright is an incredibly inefficient mechanism dating back from the 16th century. The costs of enforcement are soaring as the Internet makes it ever more difficult. This is a situation where we are relying on toll booths to pay for our roads, but it is becoming ever easier for travelers to evade the toll booths. Rather than looking for alternative ways to finance road construction, we are building bigger, more expensive toll booths and increasing the penalties for not paying tolls. Of course, the point is to have money going to the road builders, not the people who run toll booths. There are alternative mechanisms for financing creative work. There is already a vast amount of creative and intellectual work that is not supported by copyrights. This includes work done by university faculty, work supported by nonprofit organizations and, even to some extent, work supported by the government. We should be looking to expand and improve these alternative mechanisms rather than turn cyberspace into a copyright-protected police state. The SOPA is big government at its worst: an intrusion into the market to help the One Percent at the expense of everyone else.

If you could describe it a little more precisely LSC can make it for you and so could we. LSC is cheaper. ours will be right the first time. wolf ( we make a lot of custom cables for the video assist folks) 310 822-4973

How do I transfer audio files to a PC via USB port wire from iphone recorded with FiRe? FiRe is a better (free) recorder than the built in Voice Memo as it has a volume slider. You can also buy a $ 30 STEREO CHEPO MIKE THAT PLUGS CONVENIENTLY INTO THE iphone. Voice memo though has a emailer built in. In order to combat piracy Apple does not allow for iOS device -> computer transfers via the USB cable. Have you tired using Bonjour in Safari? To access your FiRe recordings with Bonjour in Safari: 1 Launch FiRe on your iPhone/iPod and turn on Browser Access. 2 Open Safari on the PC and click the book icon in the upper-left corner of the browser window (it will be located directly under the back button)--this will open your bookmark collection. 3 Select the bookmark collection titled Bonjour. In the bookmark list that appears, you should see "FiRe on your iPhone/iPod" on the right 4 Select "FiRe on your iPhone/iPod" by doubleclicking 5 Safari will automatically connect to your FiRe recordings. You can transfer as AIFF or WAV or something else. I don’t know the difference. After you have transferred one file you have to go to Safari settings (the wheel in the upper right) and reset Safari and start all over for the next file. There is no batch transfer and since the transfer is over the net it’s slow even when you have a fast local WiFi. How this prevents piracy is beyond me. What a fucked up tedious way to do this. Support | Newsletter | Twitter | Facebook | YouSendIt Dropbox FiRe support is fast though superficial http://www.audiofile...ng.com/support/ Iphone Xferre How do I transfer audio files to a PC via USB port wire from iphone recorded with FiRe? FiRe is a better recorder than the built in Voice memo as it has a volume slider. You can also buy a $ 30 STEREO CHEPO MIKE THAT PLUGS CONVIENIENTLY INTO THE iphone. Voice memo though has a emailer built in. In order to combat piracy Apple does not allow for iOS device -> computer transfers via the USB cable. Have you tired using Bonjour in Safari? To access your FiRe recordings with Bonjour in Safari: 1 Launch FiRe on your iPhone/iPod and turn on Browser Access. 2 Open Safari on the PC and click the book icon in the upper-left corner of the browser window (it will be located directly under the back button)--this will open your bookmark collection. 3 Select the bookmark collection titled Bonjour. In the bookmark list that appears, you should see "FiRe on your iPhone/iPod" on the right 4 Select "FiRe on your iPhone/iPod" by doubleclicking 5 Safari will automatically connect to your FiRe recordings. You can transfer as AIFF or WAV or something else. I don’t know the difference. After you have transferred one file you have to go to Safari settings (the wheel in the upper right) and reset Safari and start all over for the next file. There is no batch transfer and since the transfer is over the net it’s slow even when you have a fast local WiFi. How this prevents piracy is beyond me. What a fucked up tedious way to do this. Support | Newsletter | Twitter | Facebook | YouSendIt Dropbox FiRe support is fast though superficial http://www.audiofile...ng.com/support/

its a free magazine, you can sign up for it - basically an advertising media for music equipp.. still interesting http://www.nxtbook.c...01110/index.php wolf

FS Fostex PD-4 low milage, MD SOny portable with deadish batts. Come and get them I will give you coffee and cake. wolf 310 822-4973.

ON my PC i have NORTON GHOST ( free from Fys every Feb) that copies all 200G to a second drive everynight at 11 pm send me an email that it deleted the older vers ( I keep the last 4) and I sleep well. Of course the music collection is too large to backup. i only have so many terabyte drives. wolf

good charger? Powerex MH-C800S Eight Cell Smart Charger http://www.amazon.com/Powerex-MH-C800S-Eight-Smart-Charger/dp/B000LQMKDS/ref=sr_1_2?s=electronics&ie=UTF8&qid=1316514661&sr=1-2 i have the 4 cell version (older) and find it highly flexible and useful in tracking and reconditioning ( as far as possible) AA NiCad batts what are the best AA rechargeable batts nowadays? of the various brands I bought 3 years ago only the Radios shack ones are still alive. wonder if their brand is consistent? Some people say that Ratshat listens to customers who give them an earfull on everything, wonder if thats true. I know its not for discount places like Fry's. i have the westmountain programmable discharger powercheck http://www.westmountainradio.com/cba.php and keep discharge curves on all my larger batts. its very convenient and accurate, i am not sure that it gives you a heads up on a batt that is about to die. it certainly confirms what is nearly or fully dead though. their powercheck seems very cool http://www.westmountainradio.com/product_info.php?products_id=pwrcheck wolf

if you had used the search field you would have seen this: (how to stop the youtube stuff??) WiFi to computer only Teradeck Video cube: $ 2000.00 Rod Clark sais: My company, Teradek, makes HD video encoders and a product of ours called Cube ….. Cube is the world's first camera-top HD video encoder. It's tiny for Steadicam rigs. Here's some of our beta test footage If you're interested in learning more about Cube you can check here www.teradek.com and here at www.thevideocube.com. http://cube.teradek....ube_family.html Best, Rod Clark, http://www.filmtools...coder-wifi.html In a simple network (let's just say excluding the internet for simplicity's sake), really there are two main items that will contribute to Cube's latency. As I mentioned before, it takes about 100 milliseconds just to get the video into the Cube, compressed, moved over to the WiFi, and transmitted. It's on the receiving end where the two major differences occur. Those two differences are: - RTP to laptop, opened in VLC - HTTP Live Streaming to iOS (iPad/iPhone) RTP to laptop, opened in VLC In the advanced settings for VLC you can adjust the desired latency. There is a continuum. Less latency means a higher probability of dropped frames or frames arriving out of order. The latency can be set as low as 100 milliseconds, which in practice works pretty well. The latency can also be set as high as two seconds, which is crystal clear. In our experience, setting 300 milliseconds in VLC provides EXCELLENT quality video, HTTP Live Streaming to the iPad or iPhone is 10 seconds delay. So short answer: VLC = 1/3 second = 10 frames I-Pad = 10 seconds The rate limiter on Cube is the ability to stream over WiFi and we reach that limit around 6Mbps. That means you can stream to three or four clients simultaneously if you have low bit rates. In my experience, it's better to stream to one client with a higher bitrate (3 or 4Mbps) and use some sort of network infrastructure to distribute the signal. This video answers the questions: [who wants to manage that on a shoot?] Regarding your second question: Do we make a Cube decoder? Yes. The encoder is the hot item, but we've had a ton of requests for a decoder that the VTR guy can use in their system. I think we're about 4-6 weeks away from delivering the Cube-to-Cube solution. Other products they make: http://www.teradek.com/products.html Let me know if you have any questions. Best, Rod Clark, SergeiFranklin : I measured the delay. It's 5 frames. 1/5th of a second. Lawrence Karman: 6 frame delay! Can you record it??? Eric Fletcher S.O.C. Are you kidding me? 6 frames? .25seconds? That’s UNUSABLE Steve Irwin : Ipad has an issue with decoding latency that makes it nearly unusable now. But Teradeck is working on a RTP solution (Real Time Transfer Protocol) to help this. [Vaporware condensing slowly?] Best to have some wireless network savvy experience before jumping in and promising the world with this device. Some people refer to this as a wireless HD transmitter. It is not. [it takes in HD but spits out low res reduced color] It is a HD video IP encoding device that can feed an external wireless router or be ordered with built in WiFi. This tool has it's place but understand it's pros and cons to manage your and your clients expectations. [Make all the excuses in advance] Questions: If the WiFi radio space is busy with other users does it slow down? (I assume it just wont work at all with heavy WiFi use around) What is the Security of your images over the air – and latter over the Internet? Can it do several streams at once or can there be several in the same space? John Trunk says: For standard def one can use it with a laptop on a secured network with about a 5 to 10 second delay and also access all the files from an ipad or iPhone to play on there own. However when one leaves the range of the network their access and files will no longer be available You can access and play HD footage but not live only standard def is available live or pseudo-live with a 5 to 10 second delay. It is also important to have a good wireless router and there is no need to be on the Internet however you can access the files as well as the pseudo-live image from 3g or wifi from a remote location thus making it a great tool for second units. Good Luck [sudolive=pseudo-live= nearly live] Note June 2011: Q-take shows it on its own monitor with the usual 3 fr delay ( I have heard this only on from one user) Derek H.: However, it DID definitely interfere with my Zaxcom QRX IFB unit. Lightplay... That’s the one that sends video to iPads (10 sec delay), allowing Script and DP to individually play back any take anytime they want. It’s a whole post unit for the set: http://www.lightiron..._OUTPOST_2.html Streambox http://www.streambox.com/ – it does much of what this gadget does but over 3G and the Internet (or direct to satellite) at higher resolution and is a very mature system including remote storage, newsroom type database manager HD even 3D encoders etc etc….

WHO signals mobile phone cancer fears Financial Times FT.com By Clive Cookson and Andrew Parker in London Published: May 31 2011 21:49 | Last updated: May 31 2011 21:49 The World Health Organisation has for the first time classified radiation from mobile telephones as “possibly carcinogenic to humans”. The landmark announcement on Tuesday night followed a week-long meeting of 31 scientists convened by the International Agency for Research on Cancer, the WHO’s cancer arm. The experts reviewed details from dozens of published studies, going further than the agency’s own Interphone study which concluded last year that there was no clear link between phones and cancer. The scientists said their classification was based partly on an association between mobile phones and glioma, a particularly dangerous type of brain cancer. One study showed a 40 per cent higher risk of glioma among the heavier users, though the IARC panel did not itself quantify the overall risk. Jonathan Samet of the University of Southern California, Los Angeles, who chaired the working group, said: “The evidence, while still accumulating, is strong enough to support a conclusion and the classification [of a possible carcinogen]. The conclusion means that there could be some risk, and therefore we need to keep a close watch for a link between cell phones and cancer risk.” The GSMA, which represents the world’s leading mobile phone operators, said the IARC’s cancer hazard assessment for radiofrequency signals, including those from mobile communications, suggested “a hazard is possible but not likely”. “We recognise that some mobile phone users may be concerned,” said Jack Rowley, GSMA director of research and sustainability. “Importantly, present safety standards remain valid and the result should be understood as indicating the need for further research,” he said. The GSMA said more than 30 scientific reviews over the past decade had concluded safety standards for mobile phones and base stations provided protection against all established health hazards. John Cooke, executive director of the UK Mobile Operators Association, added: “It is important to note that IARC has not established a direct link between mobile phone use and cancer. It has, however, concluded that there is the possibility of a hazard. Whether or not this represents a risk requires further scientific investigation.” The IARC working group said the increased risk of cancer “has relevance for public health, as the number of [mobile phone] users is large and growing, particularly among young adults and children”. Besides the link with glioma, studies also showed a possible association between heavy mobile phone use and acoustic neuroma, a less dangerous tumour. In 2008 there were 238,000 new cases of brain cancer worldwide, according to IARC. The number of mobile phone subscriptions is estimated at 5bn. The scientists declined to make any policy recommendations on the basis of their new classification, beyond the need for further research. Actions and specific advice to phone users would be up to the WHO and national governments, they said. Output power compared: Cell Phone 1 Watt Hybrid 1/10th watt Modulus ½ watt CanaTrans 1 watt FIZ 1/10th watt Computer WiFi 1/100th watt Walkie Talkie 5 watt TV station 1 million+ watt ( distance consideration and inverse square law) Interesting article in the NYT: http://well.blogs.ny...he+brain&st=nyt May 18, 2010, Questions About Cellphones and Brain Tumors By TARA PARKER-POPE not really relevant to the nutty cameraman's ideas but associated cellphone use. wolf

WiFi video and audio Tx to computer only Teradeck Video cube: $ 2000.00 Rod Clark sais: My company, Teradek, makes HD video encoders and a product of ours called Cube ….. Cube is the world's first camera-top HD video encoder. It's tiny for Steadicam rigs. Here's some of our beta test footage http://vimeo.com/14214693 If you're interested in learning more about Cube you can check here www.teradek.com and here at www.thevideocube.com. http://cube.teradek.com/cube_family.html Best, Rod Clark, http://www.filmtools.com/teradek-hd-sdi-encoder-wifi.html In a simple network (let's just say excluding the internet for simplicity's sake), really there are two main items that will contribute to Cube's latency. As I mentioned before, it takes about 100 milliseconds just to get the video into the Cube, compressed, moved over to the WiFi, and transmitted. It's on the receiving end where the two major differences occur. Those two differences are: - RTP to laptop, opened in VLC - HTTP Live Streaming to iOS (iPad/iPhone) RTP to laptop, opened in VLC In the advanced settings for VLC you can adjust the desired latency. There is a continuum. Less latency means a higher probability of dropped frames or frames arriving out of order. The latency can be set as low as 100 milliseconds, which in practice works pretty well. The latency can also be set as high as two seconds, which is crystal clear. In our experience, setting 300 milliseconds in VLC provides EXCELLENT quality video, HTTP Live Streaming to the iPad or iPhone is 10 seconds delay. So short answer: VLC = 1/3 second = 10 frames I-Pad = 10 seconds The rate limiter on Cube is the ability to stream over WiFi and we reach that limit around 6Mbps. That means you can stream to three or four clients simultaneously if you have low bit rates. In my experience, it's better to stream to one client with a higher bitrate (3 or 4Mbps) and use some sort of network infrastructure to distribute the signal. This video answers the questions: http://vimeo.com/14644326 [who wants to manage that on a shoot?] Regarding your second question: Do we make a Cube decoder? Yes. The encoder is the hot item, but we've had a ton of requests for a decoder that the VTR guy can use in their system. I think we're about 4-6 weeks away from delivering the Cube-to-Cube solution. Other products they make: http://www.teradek.com/products.html Let me know if you have any questions. Best, Rod Clark, SergeiFranklin : I measured the delay. It's 5 frames. 1/5th of a second. Lawrence Karman: 6 frame delay! Can you record it??? Eric Fletcher S.O.C. Are you kidding me? 6 frames? .25seconds? That’s UNUSABLE Steve Irwin : Ipad has an issue with decoding latency that makes it nearly unusable now. But Teradeck is working on a RTP solution (Real Time Transfer Protocol) to help this. [Vaporware condensing slowly?] Best to have some wireless network savvy experience before jumping in and promising the world with this device. Some people refer to this as a wireless HD transmitter. It is not. [it takes in HD but spits out low res reduced color] It is a HD video IP encoding device that can feed an external wireless router or be ordered with built in WiFi. This tool has it's place but understand it's pros and cons to manage your and your clients expectations. [Make all the excuses in advance] Questions: If the WiFi radio space is busy with other users does it slow down? (I assume it just wont work at all with heavy WiFi use around) What is the Security of your images over the air – and latter over the Internet? Can it do several streams at once or can there be several in the same space? John Trunk says: For standard def one can use it with a laptop on a secured network with about a 5 to 10 second delay and also access all the files from an ipad or iPhone to play on there own. However when one leaves the range of the network their access and files will no longer be available You can access and play HD footage but not live only standard def is available live or pseudo-live with a 5 to 10 second delay. It is also important to have a good wireless router and there is no need to be on the Internet however you can access the files as well as the pseudo-live image from 3g or wifi from a remote location thus making it a great tool for second units. Good Luck [sudolive=pseudo-live= nearly live] Note June 2011: Q-take shows it on its own monitor with the usual 3 fr delay ( I have heard this only on from one user) do0nt know where to rent it. purchase from filmtools

there are courses in several Entertainment crafts at a local community college that are promising union cards at their completion. [ update: A. Rovins says its not true... SORRY !!!] There are under the banner of Hollywood CPR. they have good local PR and appear on KCET as an opportunity to learn Hollywood trade skills. They do teach sound. I seem to remember it's a 2 day a week - 6 months course. I believe they give out grants (PELL) to needy students as stipends. With the new jobs bill this may be increased soon. Its a community college so Ca residents pay $ 36 a unit, out of staters pay a lot more. You don't need a High school degree to go there. You have to be 18 years old. Most students are economically disadvantaged ( I used to say poor). Not sure of how students are selected, in the past there were never enough students and generally the drop out rate is very high. Used to be Jim Dehr and Andy Rovins teaching. Head of the whole program used to be Kevin Considine a props guy. They asked me to teach but had no coherent plan on how to do something like this so I turned down the $ 25 / hr job. Teachers with a college degree get more like $ 45 I think it was. Other crafts that teach give the teacher Union hour credit for the classes, not sound though at that time. I hear they do now. Our local is aware of this program, not sure why they don't promote it, i would think educated new blood is a bonus to the power of the group. Better educated workers can demand better wages (or is that an Obamination?) anyway this is all I know, don't call me wolf Motion Picture Television Production Crafts (& HCPR): http://www.hollywoodcpr.org/ http://www.wlac.edu/cema/index.html (310) 287-4571 PetersL@wlac.edu

try calling the 695 office 818 985-9204 they do answer the phone now ask for Scott Bernard or an organizer... and good luck getting a coherent answer... if you do let us know wolf

I don't know if PERA still exists PERA Professional Equipment Rental Association http://www.pera.ws/index.lasso Not an insurance source but an advocacy group for companies supplying rental equipment. deductibles on insurance policies are now often $ 3000. so any loss less than that the company has to pay not the insurance. Policies for cars locked in public places are hard to find. FedEx is difficult and expensive to insure. UPS is said to be better with claims ( no personal experience) I have had a whole truck full of $ 120,000 of video gear stolen. The insurance gave me $ 60K 3 years later. my lawyer took 'em to court and settled outside the courthouse in the street. good luck and good night wolf

This is a contribution from a member whose lawyer based this contract on the basic one written by PERA (The Production Equipment Rental Association .) This is a suggestion only. none shall be liable for any consequences resulting from the use of this contact language. This may not be construed as legal advice from anybody or nobody to anybody for any purpose... etc.... Substitute your name or your companies name for XXX. And you don't need to be a corporation to enforce this. Also do not let anybody change anything in this, there is always a purpose in the changes and it is not in your favor ever!! If you don't understand some of this hire a lawyer to explain it to you , the few hundred $ spent on lawyers will save you thousands latter 1. Inspection. Customer (or "Your" or "You") acknowledge(s) that s/he has examined and tested the items of equipment listed herein (the "Equipment") and that the same are in good working condition and accepts the same as is, and without any rental reductions or claim therefore. You acknowledge that this Equipment is leased to You without warranty or guarantee of any kind express or implied and that XXX (or "XXX") assumes no responsibility, implied in fact or law, for the performance or non-performance of said Equipment. You shall return to XXX, at Your expense, for exchange for other Equipment, any listed item which, subsequent to delivery, becomes inoperable. 2. Delivery. You agree that You take delivery of the Equipment and assume all risk of loss from the time that the Equipment is set aside from XXX'S rental inventory at its facility for Your use. You are responsible for any and all damage that You cause to Equipment, property and person(s) during testing and for this entire Agreement term. 3. Use. This Equipment, or any part hereof, may not be removed from the United States, and shall not be subleased or assigned, without XXX's prior written consent. Any unpermitted attempt to assign or sublease without XXX's written permission shall be null and void. The Equipment shall be used only by Your duly qualified employees and/or agents. You shall keep the Equipment in Your sole care, custody and control and shall not permit it to be used in violation of any federal, state or municipal statutes, rules or regulations. 4. Return, Repair, Maintenance. If any item of Equipment is returned in a damaged, destroyed or non-working condition, or if any such item is not returned for any reason (including, but not limited to, destruction, confiscation, theft or act of God), You shall pay to XXX, the cost to replace the same item, or closest, comparably equipped, equivalent, or better new model if immediately available, at current retail price without deduction for depreciation. If any item is returned in a repairable, damaged condition, You shall pay to XXX the cost of such repairs as determined solely by XXX. In determining whether Equipment shall be replaced or repaired, XXX's judgment shall be conclusive upon You. Notwithstanding anything to the contrary in this Agreement and regardless of when You pay XXX, in the event of loss or damage to the Equipment, You shall be liable to pay rent at full rental rate for the Equipment item(s) irrespective of any package or other discounts agreed to at the inception of this Rental Contract, until all of the Equipment has actually been repaired and/or replaced, returned to XXX's rental inventory and XXX's invoice to You for loss and damages has been paid in full. If requested, You shall immediately advance the money to pay for the repair or replacement of missing or damaged Equipment. You acknowledge that there may be delays in repair or replacement attributable to causes beyond XXX's control. The acceptance of the return of the Equipment is not a waiver by XXX of any claims that it may have against You, nor a waiver of any claims for latent or patent damage to the Equipment. 5. Rates and Late Charges. The terms of payment are based upon Your credit information at time of rental. The first rental day shall be the day after delivery to You. The last rental day shall be the day of return if such return is after 10:00 AM. When on daily schedule, daily rate will be charged for Sundays and Holidays if Equipment is used. Rent is payable upon receipt of invoice. All invoices not paid within 10 days from invoice date will accrue late charges at the rate of 1 1/2% per month (18% annually). If XXX places the account with an attorney for collection, You agree to pay all reasonable attorneys' fees and costs which may accrue. Rental rates paid will not be applied to the purchase price of any Equipment listed herein under any circumstances. 6. Title and Ownership. You specifically acknowledge XXX's superior title and ownership of the Equipment and shall keep it free of all liens, levies and encumbrances. You acknowledge that You shall be responsible for all taxes, transportation charges, duties, customs brokers fees, bonds, and all costs imposed upon the leasing or use of said Equipment. You agree not to remove or cover over any serial numbers, tags, nameplates or logos on Equipment showing XXX's ownership. 7. Right of Entry. XXX shall have the right to inspect the Equipment at any time, anywhere during the rental term. In the event of any of the following, including but not limited to, termination of the lease period, non-payment of any rental charges, breach of any provision hereof, the filing of a proceeding in bankruptcy regarding You, or the levying of any legal process upon any item of Equipment, or upon any use of Equipment in derogation or violation of XXX's superior title and ownership, XXX and its agents shall have the unconditional rights to declare the entire amount due under this Agreement and to remove all of the Equipment without demand or notice to You, without any liability for trespass or other damage caused by any such entry, and without prejudice to XXX's right to receive rent due or accrued to and including the later of the date of removal of the Equipment, or the date this Agreement expires, plus any and all additional costs, fees, damages and loss of rents which XXX incurs in the course of repossession of the Equipment. 8. Indemnity and Liability. During and continuing after the term of this Agreement, You agree to indemnify, defend and hold XXX, its agents and employees, harmless from any and all claims, actions, suits, proceedings, costs, expenses, damages and liabilities, including attorneys' fees, arising out of or connected with, or resulting from the Equipment or the personnel provided hereunder during the term of this Agreement, including without limitation, manufacture, selection, delivery, possession, condition, use, operation, conduct, or return of said Equipment and for any violation of any statute, law, ordinance, rule or regulation of any duly constituted public authority. XXX shall not be liable for any loss or damage of any kind, whether caused by negligence, or otherwise resulting from any delay, detention, late-delivery, non-delivery, defect or deficiency in the Equipment or other materials supplied, handled, stored, repaired, transported, received or processed, or the services of technicians, drivers, or any other personnel or service provided by XXX. 9. Insurance. You shall, at Your expense, at all times from the time of delivery of Equipment to You, maintain Miscellaneous Equipment, Third Party Property Damage and Commercial General Liability insurance covering all Equipment rented for full replacement cost without deduction for depreciation and for loss of use (rents) of the Equipment in amounts and with insurance companies XXX approves. Property Insurance shall be on an "All Risk" or "Special" form, on a worldwide basis with XXX named as Loss Payee for loss or damage to Equipment. XXX shall be named as Additional Insured as respects all of your liability insurance which shall be deemed primary and non-contributory in the event of any claim or suit. All policies shall provide for 10 days written notice to XXX before any policy shall be modified or canceled. You shall deliver to XXX, upon request, evidence of insurance coverage satisfactory to XXX. Lapse or cancellation of the required insurance shall be an immediate and automatic default by You under this Agreement. 10. Foreign Use. You must notify XXX in advance of all Equipment that is due to leave the United States and You must register it with U.S. Customs prior to departure. At Your request, XXX will furnish You with a statement including serial number, country of origin and replacement value of Equipment. Adequate bonds, all customs fees and taxes are to be provided by and prepaid by You prior to shipment. Any delay due to shipping, Customs, broker, Your failure to register Equipment and any other cause shall be charged at normal daily rental rates until all Equipment is returned to XXX. 11. Aircraft use. XXX electronics and other equipment are not approved or certified for any aircraft use. The Customer agrees to save and hold harmless, indemnify and defend the Company against any and all claims and/or causes of action which arise out of improper use. 12. Shipping Costs. All air or surface shipments of Equipment by XXX for you will be shipped collect for freight charges and insurance. All Equipment You return to XXX must be shipped pre-paid and insured. You are responsible for all rental charges, costs, fees and taxes incurred once the Equipment is delivered to a Carrier. 13. Miscellaneous. This Agreement shall be deemed to have been entered into in California and governed by California State law. Should any legal proceedings arise out of this Agreement, the prevailing party, in addition to any other recovery, shall be entitled to recover all reasonable expenses including attorneys' fees. Jurisdiction and venue for all purposes are proper only in state or federal courts in Los Angeles County, California. Customer agrees that Customer has read and fully understood all product manuals and literature supplied with Rental equipment. Customer is deemed to know the law regarded permitted uses of equipment. 14. Changes..The Rental Contract and these Terms and Conditions express the entire agreement between the parties and any change thereto must be in a signed writing. If You are a corporation, the person signing this Agreement on behalf of such corporation hereby warrants that (s)he has full authority of such corporation to sign this Agreement and obligate the corporation. Said person and the corporation shall be jointly and severally liable for all rentals and all other sums that may be due and owing to XXX at any time under the terms of this Agreement. You certify that You have read and fully understand all of the above provisions prior to executing this Agreement. 15. Screen Credit. Customer agrees to include "Video Assist equipment provided by XXX" in the end titles of the film in anything but a commercial less than 5 minutes in length. I hereby rent XXX equipment subject to the conditions set forth above. I have read and agree to these conditions. I have received a price list and agree to pay the rates as quoted. this must be signed by an officer of the company. a teamster piching up fear is rarely an officer, so is the seconf AD. if officers refuse to sign or send it thru "the legal department" and change it all around you can be assured that there is something else wrong with the company. follow Nancy Reagan and "just say no" . -------end -----------------------------------------

had 2x 81s for years. much NICER ( friendlier, warmer, kinder, gentler,subtler (!) ) sounding than any Sennheisser - . Senn seems to dig out voices (high mids) from NOISE better. Neumann is a little more wind sensitive, you need to take care you have proper bags. low freques are there - not so much on Sennh. never had moisture probs. Sennh. is an axe, Neumann a butter knife. geeeeeeeeeeeez wolf ( PS my 2 are for sale at LSC) so are my Senn. 48V.

The union will not post here nor do they read this board. They are mired deep in fear and paranoia. So this is from me (free form all fear, paranoia and obligations as I am no longer dues paying): The Commercial Contract has only two Pay Scales for Local 695 members. There is a minimum call of 8 hours but most folks work on a 12 hr guarantee (higher than the minimum). The current classifications are: Sound Mixer...... .......$66.33/hr Boom Oper....... ......$44.78/hr Sound Utility...... ......$44.78/hr VTR/Video Playback... .$44.78/hr The 44.78 rate goes up to 45.68 on Oct 1 2011. For 12 hr 44.78 x 14 = 626.92 that's 4 hr at 1.5 time ( the deal is usually for 650 for 12) for video assist The 66.33 mixer rate goes up to 67.66 on Oct 1 2011. 66.33x11=729.63 mixers are hired mostly for 10 hrs minimum. It would be a breach of the contract to hire someone to perform Local 695 work no matter what you call him/her and pay less than the rates for the above positions on commercials. So VTR assistants have to get the same rate as the 1st operator. Contract breaches are trouble for the hiring Company rarely for the individual. Personally I don't know of any commercial Companies getting busted for anything and the results of any breaches are usually kept secret. (Don't ask me why) There are no Y-7, Y-9 etc in the commercial contract. Those jobs and rates exist only under the "basic" which applies to features and TV. On commercials are only the job descriptions with the hourly rates that I quoted above. Of course the company can always call the local and ask for special arrangements. I doubt if those will be given on a commercial. Special arrangements either officially or unofficially are being given a lot on features mainly by the IA international. The worst deals are the so called web-isodes. here the union will not set or negotiate rates at all only demands H+W. The "basic" rates for feature and TV are as of August 1 2011 Y-4 … 50.43 with 9 hour minimum If you want to know the rates and overtime officially go to 695.com as a member you can get a password and look at all the contracts that have the rates buried in them. You can also call the local and talk to one of the organizers: Dean or Scott or the BA Jim Osborne: USA 818 985-9204. Any questions don't call me and for wrong info don't blame me either wolf Useful: http://www.695.com/html/edu-arts.html

its hard to buy from lemo less than 10 units and it takes FOREVER to ship do NOT buy the USA made equivalents, their plastic melts much too soon even though they are 30% cheaper. i am not aware of Asian copies yet Soldering these is not for newbies. The established houses all make cables and if you need just a few go to them, there is an expensive learning curve in fine precise soldering of these. Key is TAKE YOUR TIME IN PREP. we make and stock all kinds of lemos etc for video guys, we dont have this 5 pin in usually. I hate to compete with the habitual vendors. wolf

i have several for sale with either 2x 22.V batt or 5 or 6 x 9V batt. custom made. DEAD quiet. call me 310 822-4973 wolf

http://www.xantrex.com/power-products/power-accessories/truecharge-2-usb-charger.aspx i have not tried it wolf

good info simple http://antonbauer.com/Support/TransportationInformation wolf

All I know Canon with video assist and sound: http://wolfvid.com/datasheets/FAQ_CANON_7D_VideoAssist_Notes.pdf 12/31/2010 I am very open to corrections and improvements. thanks wolf

thanks - guys ... great time ... lots of GOOD food... no parking as usual .... good to see folks and catch up - who one rarely hears about... if the average age at union meetings is 55+ it is 30 + here ... yea!!! wolf

may bew the same as Jeffs cells but set up for cine use... http://dazmobatteries.com/ they were at cinegear but seemed a little bit in pre sales demo mode wolf

any field experiences? CLOCKIT TIMECODE APP Timecode system for iPod touch®, iPhone® & iPad™ http://www.ambient.de/produkte/timecode/clockit_tc_app/clockit_tc_app_e.html found it http://jwsound.net/SMF/index.php?topic=8773.msg75088#msg75088 thanks wolf

I wrote a 4 page detailed review of capabilities of the PSU3 as previewed at CineGear. Since the machine is not released yet in the USA market I will send this only to individuals who write to me and ask for it privately. I sent the article to Vantage and they promised to add their comments, then I/they can post it I guess. They know there are features the USA folk want and they say they are working on them. I don't want to waste peoples time with vaporware discussions. wolf at wolfvid doot com. ( thanks again Goldy for showing it so glowingly)