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Christopher Mills

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Everything posted by Christopher Mills

  1. These are not prospective employers. They are not producers with any scripted project planning experience. All the budget template forms include at least a two person crew in the line items, and many include a utility. Never mind the analogy. Show them a credit list from films and tv. or a crew list. Better, just say goodbye.
  2. Excellent for tight fitted clothing.. and helps a lot in placing the lav cable along seams... very happy user in Atlanta
  3. We did it that way for fun... I definitely would handle much more digitally if doing it now... I handcranked this film while staring at a tachometer with one eye, and the frame with the other...
  4. We did not generate an optical track. the audio was recorded with AKG lavs suspended around a piano, and a RE20 for the vocals. mixed through a 442 to a tascam dr7.. Then re-recorded playback on a set through MKH 50 to a Zax Fusion. those files were then processed by our sound editor. The picture elements were shot on B&W negative...B&W print made on 35mm stock.. hand tinted, water stained and scratched.. every inch of 2000' feet... telecine from this looked too clean.. so we threaded it up on an upright moviola, and I shot the screen with a RED. R3D loaded into Avid.. combined with sound.. and uploaded...
  5. I disagree with your producer. By the 1940s, recording technology was capable of decent recording of the human spoken voice, and the goal has always been to get the mic as close to the mouth of the actor as possible, and the pattern of the mic as on axis as possible. Perambulator based booms helped with this. The bulk of a studio film's production audio would have been on soundstages with crew who knew not to make any sounds while camera rolled. After this, much would still be looped, in an acoustically treated space, and the music and effects mixed in as the answer print was created. Now, I also think that member Eric Toline would have a more thorough explanation of 'how it was done back in the era' from having met and learned his craft from people who actually worked on those type of projects. after all this.. simple answer... clean mono track, limit the outside noises you record, and add hiss.
  6. did 1930s recently http://vimeo.com/100231366 Just recorded clean mono signal, and let sound designer work with it.. She did a great job, and I can recommend her. Christine McQuire at FirstPost
  7. Ok.. my 2 cents worth. I owned a Fusion, and have sold it and bought a 664. I did use my Fusion both on cart and in bag. I have used Sound Devices, Zax, and Fostex devices. I did not find the Fusion experience different than a Deva (they have the same menus), as I don't burn dvds, and don't need to use an internal hard drive. I am comfortable with a 48kHz for my clients and workflow. I find that I like the workflow of the 664, and its 12 track capability and simplicity for going from bag to cart (which I did on two days last week). I just didn't acclimate as well to the Nomad architecture. I miss my touchscreens, however. I like the lighter weight of the 664 for a high track count bag. I did find that Zax seems to be moving on to focus more on their Nomad, Max, and updated wireless, with very little ongoing evolution of the Deva/Fusion visible to the outside world. (Not sure what Glen and Howy's secret plans are... of course) I do not care about having a hard drive anymore, since I used the Fusion sucessfully for last couple of years. My goal is a more compact high track count dialog cart, and the 664 is looking like a great way to achieve that. It's price point new, with accessories, is very close to the cost of used Zaxcom Deva outfits. I can't say absolutely which one you will like better.
  8. In the spirit of the forum's tendancy to redesign products... can this be ordered with a BNC i/o instead of 3.5mm socket? thanks.
  9. only from post, when they realized the Dragon had no timecode.
  10. No, small supershield is not appropriate for a 416 even with the right angle XLR... the mic will bump into the inside of the shield as you cue it. I use the right angle xlr in the medium, and this gives me good but not generous room with a 416.
  11. Uh.. the production buys a per show faceplate that covers our slates, and is transparent over the numbers.. velcro to the built in face surface.. it does a great job protecting our slate's front.. Not so much from the slate being set in a puddle or dropped..
  12. I'll give you a break here.. You definitely want the medium for a 416... from the man who owns one.. and has the other 2 sizes on hand with other mics to compare..
  13. @John.. I am in the hinterlands, and we are forced to deal with ASA rates quite often.. though there was also some argument from 600 on improperly low rates being offered on a series as opposed to pilot, as well as some attempt to ignore previous instances of higher rates being paid to certain over scale crew.
  14. Just part of a team that declined a fox deal which was $2000/week for a package.. they had paid us $2500/week for a show last year The other wrinkle was that they wanted to pay ASA scale for Boom and Utility, and no rental to the boom op. To add insult to injury, they completely violated a no-quote on the labor rates deal from previous year, and pulled the tax records from payroll company to get the mixer's rate from the past contract.
  15. Thanks, Rado.. I can just copy/paste your list .. great timesaver
  16. Hmmm.. even at that weight.. might be a viable bag cart...
  17. ok.. as far as mics.. many of us use Sanken Cubs attached to the car ceiling and visors with furry windscreens.. Mic the car, not the talent. and even recent epic car chase franchise movies of a title you certainly would recognize place the recorder in the car preset, and have it unmanned... they do use wireless monitoring to get a sense of what is being recorded, when possible.
  18. In my recent experience, comteks are vulnerable to interference from the teradek bolt system. Contact teradek directly for re-tuning instructions, to find a freq that is less of a problem. It will be trial and error, as this *seems* to be an intermodulation artifact.
  19. Bubble Bee for the Cub has helped me in the past.. so has building a high wind rig around the lavs, and placing them where the seatbelts or harnesses do not cross the passenger and driver. Are they wearing helmets, BTW? you may have to deal with that issue as well
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