Phil Palmer

They changed their site around. Here's an updated link: http://www.sounddevices.com/support/tech-notes/changing-the-tod-time-code-battery-for-a-7-series-recorder?highlight=WyJ0aW1lIiwiY29kZSIsImJhdHRlcnkiLCJ0aW1lIGNvZGUiLCJ0aW1lIGNvZGUgYmF0dGVyeSIsImNvZGUgYmF0dGVyeSJd

Yes, to Pro Tools. As far as a set up, there are SO many ways you can set it up. Every operator will have a different set up, and that's actually the beauty of it. As for my playback rig, It's been a Mac Mini for the computer, running PT11 currently. A MOTU Traveler as the interface. And a Mackie 1402 mixer as the mixer mostly because we have so many elements that have to routed in different ways. Mix or specific tracks to ear wigs and sub/thumper tracks. You can do it without a mixer, but personally I'd hate to have the PT mix window as your only Output control. I have VOG inputs as well as back up routing. I can't tell you how many times someone comes up and says, "Hey, I've got this song on my phone...can you play it for us?". I think you get the picture. PWP

Very excited to have won the Pianissimo mount. And thank you Philippe for offering up such a prize at the RAMPS/JWS 25th anniversary party. I think it may have been the biggest and best turnout ever! My collection from Cinela currently include: 2 x OSIX 3 (for MKH50) 2 x OSIX CMIT (used with CSS3e) 2 x MINUX 8000 (for MKH8050) 1 x PIA 1 (used with CS3e) 1 x LEO (for MKH50) This will tell you of how much I like the Cinela products! Thanks Philippe!

Hello everyone. Thanks so much for the kind words. Great to hear from your peers when it comes to the work we strive so hard to deliver. The first 10 episodes, yes season 1 is 10 eps, were filmed last year in Albuquerque in many of the same locale as it's parent series Breaking Bad. As for the Blanket... It was a combined effort by myself and the prop department to make this happen, with the support of our producers, specifically Nina Jack, who understood the challenges as soon as it was on the page. They had similar difficulties with the "hazmat" suits in BB, so this was not unfamiliar ground. They came to me in prep of EP 102 and gave me a heads up. I contacted the folks at Silent Bags, the prop master who makes all sorts of silent material and let him know what we were trying to do. At his suggestion we ended up taking a "new", unwrinkled as best as possible, blanket and adhered it to a sheet of clear vinyl. This took away the crinkly sound substantially, and gave the blanket some added body and weight so it would stay put. Michael was very aware of the situation and it was a collaborative effort among many to make the scenes work with the blanket. And, it did. Thanks for dialing into what was a very interesting challenge. It was a team win for sure. I can't go without saying Larry Benjamin and his post mix team at Smart Post as done an absolutely stellar job on the show. PWP

Hello Bud. This sounds intriguing. Do you notice an audible "thump" when depressing the motorola switch? Not a deal breaker at all, as I think this is a nice solution and you can keep the transmitters fired up. With the routing ability on the O1v I can keep it live on my headphone feed and the Private IFB allowing for crew communication. The other alternative is to have a Lav mic or boomset headphones with a UM or the new LT series transmitters and use the on/off switch as the PTT.

I'm planning on adding a talkback system for and from my boom operators into my current rig. After seeing what Simon Hayes has integrated into his cart and what I know a few others have built, may I ask what other sound mixers have implemented for comm within their crew? What are you using for the boom ops? What wireless system or systems are you using? Is there anything specific as to how you have it patched or routed that may be specific to your rig? What headphone/boomsets are your crew using or are they using a lav? Thanks in advance to this great brain trust. Best, PWP

Mr. Henchman, you obviously don't understand my comments at all based on your statement above. Thanks for getting me going, that was obviously your intention. I'll bow out again from this thread as I believe it is teaching the wrong message to production sound mixers and to re-recording mixers alike. Yes, of course we should all keep our lav rigs, and wireless in the best operating condition because we are professionals. Not because of a blanket statement that RR Mixers will only use the lav mic iso track to build their mix. Strive all that you can to put the boom mics in position as we are trained to do, and if that is not an acceptable sound option, then yes the lav mics are going to play. There is no set percentage of what is used when. It just depends. The Re-recording mixer from the show that was originally mentioned in this thread wrote me an email saying this question was posed to him and he gave an answer. Then after thinking about it, he decided it was not actually a correct statement because it has changed from show to show, scene to scene, design to design. In fact, it changes a lot and he felt the answer was a dis-service to our work. I told him what has transpired in this discussion and we decided to let it go. Sadly, apparently I have not...and I should. This is my belief from my experiences alone, though those who agree might chime in. P

From the one initially thrown under the bus in the first post on this minefield of a thread. Mr Henchman, you can't put a percentage on this. And frankly some of this thread has been somewhat sad to point out to many of the people mixing today, do just give up and slap a mic on the actor. That's just not how it's done. I welcome you to come to a set and see the challenges that we as production mixers go through on a scene by scene basis to deliver all that we can. I make it a point to always, whenever able, to visit the post sound crew on every project. The details that you have pointed out, so many times in this topic and thread, simply are not what we encounter on a daily and show by show basis. So to that, I have to say what I said earlier.... IT DEPENDS on the scene, show, actor, camera set up, and so many other factors. I challenge you to choose a lav mic buried under 2 layers of clothing over a professionally operated boom microphone in a close up on any mix. If you were to choose the lav, just because you have a percentage in mind of how the show is mixed, I think the results will speak for themselves. P

Congratulations! And a nod to your crew. Enjoy the spotlight my friend. Well done.

And Courtney! Thank you so much for all your help on teleprompter. Sue (Jane) couldn't have done it without you. Much appreciated. PWP

Today we are celebrating the last day of photography on our series Glee. 121 episodes of a very different and difficult series to work on. I personally would like to thank a few people who without their help on my production sound crew I would not have made it. Before I do that, I'd like to also thank all the sound mixers, boom operators and utility sound techs that have come in to day play and work our many 2nd units and double ups. I don't have a list...sorry, but you know who you are and I really appreciate your sense of rolling with it. Now, my crew that's stuck with me (well mostly) for 6 years. Guys have come and moved on, and some have moved up. I'm grateful to have been your production mixer. Patrick Martens - Boom operator Devendra Cleary - Utility Tech and Playback Mitchell Gebhard - Utility Tech Jeff Zimmerman - Playback Scott Solan - Boom operator Chloe Patenaude - Utility Tech There are so many folks who have come in and day played, and I thank you all. It's a bittersweet day here after 121 episodes. Paramount is so happy we are done they've built a carnival on NY Street. Cheers! PWP

Alright! Phase 1 complete. Probably some modifications as I see fit. Really nice job my Susan Ottalini at ShooterSlicker Raincovers. MTO Unlimited ShooterSlicker Raincovers www.shooterslicker.com

I've stayed out of this minefield for several days now, but since I was thrown under the bus in the first comment on the thread I will post one more time and bow out. Our re-recording mixer sent me an email to give me a heads up as to Mr. Henchman's inquiry, which I actually suggested. He responded, then realized that he gave an inaccurate response because the real answer to all this is...it depends. Some scenes are cut one way, some are another. And honestly, that's how it should be. I'm really starting to see from this continued discussion that it might be a problem that Mr. Henchman is actually having and perhaps this thread started as a knee jerk reaction to something that happened. To that, I understand. There is no way, in any of the many shows that I have done, currently work on, or probably will do in the future (touch wood) that you can say "what percentage of this show will be on wires?" It just depends, and yes we should "keep our gear in top working order" because that's what professionals do. May I suggest, that Mr. Henchman take a little trip to a set that he is contracted to mix in the future and see some of the dynamics that are in play while trying to capture the nuances of an actors performance. You cannot, and we certainly should NEVER, default to a single way of doing things just because we are working in a medium, be it Television or Motion Picture, just because of a blanket guideline. I think you may find this a bit pointed in my response, and I hope no offense is taken. But, the comment originated with a show that I mixed. And no investigation was made prior to the comment. In fact, we have determined because of this minefield of a thread that the actual percentage is different that he even suggested. It just depends on the day, the scene, the actors, the environment, the schedule, etc., etc. I hope I don't decide to delete this post after I get a whipping. P

Well, as for Better Call Saul, I can correct you here. There is a lot of booms in the mix, and I would say much more than lavs, but that would actually have to be answered directly from our re-recording mixer Larry Benjamin. It is a "show by show" and sometimes "scene by scene" decision as to how it's mixed. On BCS, we boomed every scene. Yes we had wires on them, but it's almost all fine boom operating by Patrick Martens. I've been on Glee for 6 years now and we are booms 90+% of the time as well. I find it funny when people make comments like this. "So, make sure your lavs are in tiptop working condition. Check them out periodically to make sure they are working and sounding properly. Simply because easily 70-80% of what we use in TV these days is all lav. In fact some shows don't use a boom at all anymore. "Better call Saul" is one such show, if I'm correct."

+1 on the 664/411 model. Really nice work Simon. P

Thanks Ron!

Thanks Richard. I've been in contact with Susan and we are planning a measuring session at Paramount upon my return. Last day in ABQ is Wednesday, heading right back to Para! Thanks for all the suggestions everyone. P

Thanks for all the recommendations of a BBQ cover. That's not what I'm looking for. They do fine for when you need to cover something and walk away, but what I'm looking for is more of a custom cover. Jeff and Richard are talking in the lines of what I am looking for. This cover needs to be able to be used while working if needed. Flaps, roll up sides, velcro ports for antenna masts, and umbrella mounts, etc. So yes, I will be heading to a boat shop or perhaps MTO Unlimited (thanks for that referral). Thanks, PWP

Prompted by Jeff's #fbf post on FB today, I'm about to embark on a cover solution to my current cart configuration. I've been in New Mexico for the last 4 months and the wind, dust, rain, etc. that I have experienced has got me thinking. The boat cover, sail maker route seems to be the most logical as is evident by the photo Jeff posted today. Anyone have experience with this in LA? Any recommendations? Thanks in advance. PWP

Ramping done in post mostly. They can pick the spot much easier then control the ramp, either direction, and land right before or after dialog. Been doing this a lot lately. I try and give head and tail marks or numbers. Depends on the cam dept cooperation. The camera TC will be off the map. PWP

Hey Flip! I like this little cart a LOT!

8x8 Pelsue was one of the best purchases I've ever made. I've had mine 10 years now with regular use. It looks it's age, but it keeps me dry and warm. You get what you pay for. PWP

Looks intriguing though. It appears to be more for Live Production according to the write up, much like the LS9 series mixers. The LS9 is a bit noisy for our purposes. As far as the weight, it's 2lbs heavier than the O1V96. It will be interesting to look and listen to this console. P

Something that I noticed missing from the products on the new website: DEVA, FUSION and NOMAD. Only the MAXX was listed. If this is the case, it was a fast life for the Nomad. PWP

I have the neoprene cover and the high wind one that looks like a skunk. I've only put that high wind one on once. The rest of the time I just use the neoprene sock. It's kind of amazing. P