Christopher Mills

yes, it is a deep menu, but I have neither my camera nor my manual with me today. I have no idea what Sony was thinking

can you send a mono mix on a hop or cable to the camera?

should specify that I was doing double system for anything narrative on the F3.... for interviews, etc on f3, I do single system with a non-tc backup... Though I guess technically I am doing a multi format video single system for those, as I have audio embedded in the hd-sdi to the ki-pro

again, on the ex3, If I was switching between Interlace and progressive, I did have to tell the camera to have the tc follow the camera format wise this was to provide a 23.98 TC signal to go into a Ki Pro Mini.. I use a zaxcom fusion for my sound recording, and usually a tc slate or sync box on camera...

Or, how about making the 744t the TC master? I have not had this problem with the f3, but on the EX3, I had to dig into a system menu and select genlocking to 23.976 vs 59.94i to make the XDCAM TC output match the video signal rate. Also, the SDI signal outputs and HDMI outputs can be user defined... I don't have the manual with me.

Lastly.. (sorry)... if you are using any splitting of the headphone jack output, don't forget to turn the monitor output on camera up to 90%-100% to get it to drive both your return and the split our headphone jack. It's not always "demand driven" output... so even if the operator does not have headphones plugged in, you may need the extra volume out of the camera to feed return to your mixer. The 5 pin does NOT require you do this.

Oh, when you can get at the camera, there is a selector switch on operator side of the camera body that will let you select channel 1, 2, or mix feed to the headphones if you just need to confirm at set up. You will need to speak to the operator to get this switched hile they are shooting if you want confidence checks during a shoot. And remember, the headphone amp is low fidelity even on a well maintained f900... and the jack is prone to failure....

As a split personality member of this forum (EFP Camera person, AND mixer), I own one of these cameras, and have to tell you that the 5 pin out will tell you that you are getting sound on each channel, but is not an absolute measure of the quality of the sound being recorded. On many of these cameras, you will hear a low level "motorboating" in outputs... which is not being recorded. This is less common in well maintained cameras, and is not usually not heard in the monitor speaker on the side of the camera. However, it is wise to make a backup double system recording for this camera, especially in a narrative drama shoot. I know, I know, a huge number of htese cameras have shot millions of hours of documentary and other field production, even some drama and fiction film, and they were the top camera at Sony for a long time, but.... Double system is safer than single system.

Guess I should see, as I am local.. naw.. got another gig that I like better.... did one of these last year, and the negotiations took awhile, but the job turned out to be ok... though it was like... Ok... I want this rate, and I need a package rental as well..and for this rate we get paid every 2 days... and I need an experienced boom op.... ok... that rate isnt great... we'll have a different boom op every day... depending on who in the market is available and wants to get paid cash... and a utility.... nope... didn't win that one.

Tried Zoom, Marantz, and Tascam. I bought and like the Tascam dr-8 It is very small, works welll with my 442 in a bag as a non-tc recorder.. it has both line and mic level, and you can monitor it easily... I can also use it as a very decent pre-amp and backup for my Canon 7D...using a stereo 1/8 to 1/8 trs cable! I think it cost about $100... and is a bargain.. I have also used it as non tc backup to my Fusion... Found the Marantz units had bad self noise... Zoom H4 and H4n too large... and controls sucked.... was going to buy the DR100... and then this came out for 1/2 price..

Well, very late, but I have bought OST TL40s to use as a "harsh environment" alternate to my Sanken cos-11 mics. I ordered it with lectro servo wiring. also ordered spare wind screens to fit cos 11 and tl 40's. I think they peak a little hotter than the COS 11, but are useful for soft speakers, and great under clothing. I do like the sound characteristics of the OST TL40. I have no problem using them on any important dialog. Friendly manufacturer they will wire them any way you want. Good product!

I've already merged... I pay dues to both local 600 and 479... Seriously, though... I have been to training for the Codex "digital lab" and DIT/data wrangling techs, and it looks like editorial vs camera issue includes a few more questions: such as is the DIT also making the master(s) for the dailies? in the Codex world, they end up providing the file format used for making online and dvd dailies (no one would talk about the sync process at the course!) Are they doing a preliminary color correct for post... the onset guys feel that this is a huge burden for a loader.. and that the DIT rig should be more like a near set room for this, rather than the tent we see so often. And we dont need fewer people in the chain, actually need more... One Downloading, all day on a typical 2 or 3 camera show, another maintaining color grade and creating archives, and another making dailies... all located near ish to production The bottleneck that exists for managing data is a pretty consistent one... and consistently ignored by all producers.. allow one minute per gig of data to be copied once.. if not two minutes per gig per copy. that's also relevant to audio mirroring... just some rambling, but curious what other folks think here...

I have (as a deep backup) a 187 set. I use it for a camera hop for Behind The Scenes shoots. It never interferes with production channels (as long as they are not using the same frequency for voice of god PA wireless). It is very stable. decent battery life. I did once use it on talent in a near stunt situation for an iso on production. But we were booming the shot as well. In the US, I think that $300 isnt bad if it has 2 real TRAM mics with it that still work... but that's not a giveaway deal.. more like full retail price... I don't have nor have tried Zaxcom wireless yet. I love my Fusion recorder, though. I started doing bag gigs with Senn G2's only, then 200 series lectros, and now I am working my way into cart world, and find that I like the Digital Hybrid transmitters to VRfield on my cart. I don't usually put the G2's on talent, but more often use them as a hop on field gigs, as a hop to RED cameras, and as IFBs. I do find that as an IFB, they don't have the low volume background hiss I hear on Lectro IFB's however, they somehow don't feel as tough as a Lectro IFB, and they need a stereo to mono adapter for the headphones in that application.. Would be curious to hear Micron or Audio LTD, and expect I will try Zax sometime soon.

Ok.. I am just curious.. and I think I know the answer.... http://www.mackie.com/products/mcupro/ will this do anything if connected to either a Zax recorder or an SD one? Other than deplete your wallet and take up space on your cart, that is... If anyone tries it, let me know...

"The Gospel" produced by Rainforest Pictures paid a bonus about a year after it came out, even though I had worked for one day as a utility. it was an IA show, and the marketing campaign raised its budget category. That said, the folks who run Rainforest have treated me well over the last 14 years or so...

While I have not read texts on negotiations, I have had a few decades of hard knocks to teach me thus far. Some advice I have gotten, both from the late Jerry Crowder, of PSA, and their fine print. "It's all negotiable" (though maybe not always by YOU) "There's no such thing as future business" (as the basis of the current deal) these may sound glib at first, but as you sit on both sides of deals, you will find that these principles apply. other things I have learned include "Union scale is a minimum wage, and a basis for asking for a higher wage" (and no, I am not yet a sound professional who can always claim an over scale fee. Though I do have a few clients who are willing to pay me over scale.) Advice I will add, as I try to live by it. Never let any potential client feel that you "need" any specific job. It will adversely affect their perception of your focus on the gig, and will make them draw a hard line on the rates. Some clients will quit considering you as a potential vendor for their job entirely. Try to determine the payment record of this client in the past. Slow money diminishes in time value to you. Learn the value of your gear and tasks, both in your current market and in others. and know that your client has an office PA who will try to find the lowest offered rental prices on the web to offer against you. This will involve networking and candid communication with your colleagues. Also, I find it is a mark of a terrible job if I can not bill enough rental to cover the cross rental costs of replacement gear if needed. I like the practice of getting a written rfp, or overall job specification set prior to issuing a quote. Though if pressed, I will of course quote a labor rate (based on union, even for non-union jobs), and then forward the package quote by email. I also agree that a confident self appraisal of the value of my own services and gear is the core of any negotiation. Good Luck out there!

Personally, I like the JWsound WTB section. I do also shop EBay, and the pages of our industry vendors (not just for used gear, either)... and I have been pleased with them. While Second Sticks looks neat and well laid out, it does not say exactly what the percentage fees are on a sale? Also I note that it looks like the entire site only has 3 items up for sale.... is this site brand new? It looks like it is a year old, by the notices.. Also, their policy of "pay us an unspecified commision to get the contact info of your bidder" is even more agressive than Ebay... Just let me know if anyone has used this site, please... thanks...

Before I worked in sound, I worked in production, as an AD and UPM (So I already know nearly every thing a UPM can try on a crew member--- I THINK!)... I have frequently worked with Whit... and here's a prank he and I and other crew people pulled on a young director... He was a very city raised guy, who had not been to the Southeastern US... and he did not seem to view the crew as intelligent people... so we concocted a story for him, along with help from makeup... WE were filming in parking lots in Atlanta, and had a makeup artist create a realistic looking insect bite on a set PA's ankle.. the set PA then came over to me and Whit and the director... we remarked that he ought to be sure to see a doctor, that it looked like the bite of a "Tar Tick"... an asphalt dwelling, deadly bacteria carrying arthropod. We sent the PA to get the only certain repellent for tar ticks, Crest Toothpaste.. when he returned, he, and several other PAs who were wearing shorts (along with several crew members and the 2nd AD JD Taylor) applied some toothpaste to their ankles... Seeing this, the Director grabbed a bullhorn and announced to the whole crew that they should do likewise because we had definitely had a crewmember already bitten by a tar tick.. then he grabbed a tube of crest and smeared both of his legs all the way up to the knees... The crew did not let on that day, but the client did. At a dinner a couple of days later the director asked me who had been in on it, telling me he was sure the 2nd AD was the inspiration, but that he also thought Whit had also been involved. I pled guilty, and was told he planned on firing the 2nd, but felt he was stuck with keeping Whit and I on to finish the shoot... I cant remember what I told him to keep my 2nd, but I am sure I begged.. Turns out this director had twice survived dire insect borne diseases and was a bit of a hypochondriac as a result... In our youth Whit and I both committed many a prank.... many involving pyrotechnics and booby trapped hotel rooms... I try to be a little lower profile in my old age, or at least a little less large scale in my pranks...

It looks so bad I can not imagine bothering to set it up.. It would be like running FCP express along with FCP7.

Sorry guys.. this is the "New Coke" of editing applications. It is much more like a consumer product than a professional product. Have worked with non linear since the days of the Ediflex, with stops at Lightwave, Avid, and Media 100 hardware with Premiere. Started with FCP1 and have continued forward with it as a producer and occasional editor. The Mac programs worked well for my tape finish and then data finish projects, and were actually very able to work with a broad spectrum of source media. No Longer. This program is NOT ready.. and is NOT built to work with ongoing client projects. I guess I will keep FCP7 on hand for as long as possible, and see if someone writes something else for the Mac OS.. Have seen positive comments only from people who were using iMovie and FCP express ... RIP FCP!

Haven't posted much, as I enjoy learning from other more experienced people on the forum, but think i may have something to contribute here. I have used PE to sync footage with DSLR, RED, and DV projects. I have found that you can alleviate confusion by having the slate markings read aloud by the clapper operator in drama situations. The take numbers will generate discrete wave forms at the head of each file, and thus give a unique to each take file for the program to use. I also note that making sure that the scratch audio is clean helps PE a LOT..... YMMV, but I am happy with this so far... Chris M in atlanta..