Christopher Mills

talk to collection agent as well Media industry specialist: https://www.szabo.com/home.cfm I have had good luck with them

Let's tackle where first: At the WIRING cart. near enough to the mix cart to solo receiver channels, have discussions between mixer and utility person about strategy. Doing this encourages respect from the other departments for your tasks. WHY to have a useable track of dialog from the cast member is all possible takes. I try not to wire cast members who are not speaking in a scene. It is important to confirm with Director and Script who will speak, esp in cases that involve improv/comedy/ block shooting scenes. WHEN: Negotiated between ADs/Hair, Makeup, and On Set Costumer. Make an effort to do this with the costumer next to you at your cart. The timeline changes every day on every shooting day, but in general, it's poor practice to wire an actor too far in advance of their on set performance. Some costumes may require you to do so, however.

I have used all of the 6 and 7 series recorders. I own the 664, and also use a friend's 633 from time to time. as a "swiss army knife" of location recording, the 633 will serve you better than the 702t. You will be very glad for the extra tracks and other features. The noise level difference will not be noticable in the field.

I think this is now in North Carolina on Martin Hill's property. If not this, the MGM house version of it is.. I crawled around in it... looking at all manner of odd scrapped film equipment, about 15 years ago.

Drew, I hate to say this, but it looks like you are shopping for a car when you have the budget for a bicycle. Alternatively, I think you should consider financing the purchase of tools that will earn you a better rate, and let you complete more complex work, for which you can get decent pay. I think you really need 3-6 channels of audio with the ability to mix and record them, a timecode clock, 2 channels of wireless, a comtek tx and 2 rx units and a hypercardioid mic with a good suspension system. I think this would cost you $6,000-$8,000 with new gear, and lower budget wireless You should be able to charge at least $150-$250/day for this equipment, plus $35/hour -$50/hour on an 8 hour day for bag jobs thats around 40 days of rental to pay the gear off. Contact your local sound vendors for referral to lease company programs. If lease terms are not attractive, ask about a long term rental rate on the gear you would like to use. Much like camera houses, they will work with you to configure a coherent package which you can standardize.

Save some more dough, buy a used psc m4 or wendt x4, and a new mkh50.. this will be between $1500 and $1800.. work another part time job if you must to raise the money.

get a Sennheiser mkh 50 and be happy. It's a lot more money than the mics you listed, but a lot better mic than they are. I have used both modified and unmodified Oktavas... and played with the various Chinese made buget mics... And day in and day out, I reach for the MKH50 over even the well modified Oktavas. I do have some other mics I like, but they might not intercut well with your shotgun mic. HOWEVER.. buying a Sound Room FIlm Ediiton Oktava, and having Joly or other vendor mod the pre-amp, will get you results way better than anything else in the budget range. Also, the Avantone you mention is notorious for fit and finish flaws and construction errors that would casue you a lot of trouble in the field. The specific flaws include capsule grills falling off, xlr connectors not smothly accepting cables, poor rf resistance, shorting to the casing and internal board from the roll off switch.. Basically, this mic would not survive my work environment.

Lectrosonics tx/rx units have a more robust housing than the Sony's and sound better Sennheiser's G2 and G3 series also sounded better than Sony's to me. The high end Sennheiser lines sound good, but cost even more than the other options listed above And, if not buying an LMA with UCR100.. definitely buy used 200 series Lectros. Clients will think of you as more professional. I did use all of the above, and have phased out all but the Lectrosonics units.

From my wife Laurie GForce with a little contribution from me Many of you have met her in Atlanta on shows as a prop person, or at the Atlanta Sound Mixer parties. Goodwill to All and Peace on Earth.

Rado, what I am saying is that on scripted show, I have to leave the box with camera assistants on cameras which I don't get to touch very often, and that they constantly screw up the jamming settings, drop boxes and slates, and otherwise fail to take the care I would of the boxes and slates.. Since I am not able to fool-proof the best way (by not hiring fools), I have to take the intermediate steps I can.

I was one of the poeple who worked with mozegear to get this version built, because in scripted production in my part of the world, a bidirectional Lemo is a guaranteed way for the camera department to jam the tc box rather than the camera, and a 3.5mm locking pin is a guaranteed way to have the tip of the connector broken off inthe the TC box. Booth scenarios happened to me multiple times in the last year and a half. The "original" version is very good, but this is a safer tool for my shows.

My experience this year, is that in addition to dropping them, setting them in puddles, and using them to prop up a shelter tent (not kidding, but not on my show), is that some of the "ninja" moves made by AC's can shake the batteries out of contact with the sled, causing sync loss, but not illumination loss to the LED's... that is, they stay lit, but drop back to non sync default clock setting.

Starting out, I rented or borrowed everything except my headphones. I have stuck with sony 7506 and v6 ones. After 6 months of regular work, I bought a 4 channel mixer, (Wendt) a 416 and a good boom 8 years later, I have a multi track cart package, and I still use the boom and the 416 Every job you work, put some of the money you take in aside for equipment. If you are able to mark up the rental cost from the rental house, do so, and put that money aside for your gear. I also think that mics are evergreen (except lavaliers, which are an expensive expendable) If you feel long form scripted is where you want to go, you should try to work as an assistant/utility/boom on some teams in that field. I think that having a timecode solution is critical to booking higher paying work, even if there are workflows that can succeed without it. I am sure that browsing the pages of this site will let you know what the various posters like using on their jobs. Many brands have their partisan supporters, and many of us use a mixture of gear to achieve our common goal: Delivering the cleanest tracks possible under the circumstances of each shoot!

Sound Guy Solutions ql is very good. comparable quality to Ambient, but different mechnism.

contact Bob Wendt! he's easy to reach.

A bit irritated. I entered the correct answer to #6, and the program did not log it. Thus 11/12

mostly just the hushlavs and the topstick, though black and beige moleskin are liberally used as well. oh.. safety pins and heatshrink tubing on cos-11s... can do almost all of a tv series with th above items. not including the ways to mount the tx pack, of course... that's its own kit I carry quite a bit more stuff, but most situations can be covered with the above items from it

take a tc slate, send audio direct to the camera, jam the slate and snap it each take

Hey Eric, what's "the rest of the story" on this cool image?

So did I.

And I bet you've used the sociology training more often than patent law.. Journalism and Sociology student here...

David, according to my tax preparers, this is not the case. Of course, my LLC is renting the equipment, and taking deductions for operating that rental business

Never tried a Maxx fot this, but have used a fusion for Sony F3.. worked great

Creative people create in spite of the substances they consume, not because of them. The cemetaries are full of artists, actors and musicians who made bad substance choices because they thought that the peak creating individuals in their fields were prolific and effective because of substance use, rather than in spite of that use. Many of them people I have known personally.

Sample copy in Senatorial style: Description: RTFM Specifications: See Above What's in the box: See Above Actually, I think the Senator would be a great choice for this job.