BAB414

https://www.locationsound.com/oisphoot-boom-uperator-lightweight-boom-pole-support-system-7184 Just heard about this one. Did a 20 minute take yesterday followed by a 15 minute take, both at 15' extension, with no support. This is how this director and this actor roll, and while it is killing me physically, I want to respect the actor's process. Anyone have experience with the Uperator?

Talk to the director and DP and explain that you have to get boom on it and that wide and tight is not an option if you want useable dialogue in the closeups. The wide by itself will sound like what it looks like with the boom just out of frame, and then shoot the tighter coverage separately. That's all it is. Plant mics might also be employed, hidden behind set dressing. If you had to wire it, if they are sitting, possibly do a B6 in the hair or in the bikini top if it allows, and then run the transmitter behind them. Sometimes, in rare cases where the planets align, you can even get a plate of the wide (if it's truly locked off with nothing moving in the background) and then bust the frame to get the mic closer.

Not Larry but the SR's (not sure about the new DSR4) don't have the front-end tracking (or filtering) that the Venues or 411's have.

Anyone see this new reality/competition show on Netflix? 1st episode they have 100 contestants in a room, everyone is miked up. I was wondering how they could coordinate so many frequencies and which wireless they were using. I also wondered how they were mixing, routing, and tracking everything and which lavs (the necklace mics) they were using. Then in the first competition, it's 50 people at a time, hanging from a grid. Then they each fall into a pool. The mic gets wet but again I was wondering which transmitters they were using and how they were protecting them. Anyone have any info about the sound team and how they did what they did? They also have dozens if not more of go-pro's to sync as well as studio cameras.

Did you have a rental agreement with the producers? Something in writing?

I used to do the same with the Solice Mini. Doesn't need to be a 552.

My limited understanding is that there are gold pins and silver pins, and there is a regular chassis and a more RF-robust chassis. I definitely pick up some low buzz on my silver-pin 50 near certain lights.

I hear you. Don't forget the direct outs on each input! Those can come in handy depending on your needs.

My playback cart is a Soundcart Minicart. Signal Flow is: DAW > Behringer FCA610 Interface (8 line outputs) > Sound Devices 552. 2 out of 3 outputs that don't hit the 552 I use as direct outs to the production mixer for program and timecode. The remaining one floats as an extra which I sometimes use as a thump track. I use a Korg Nanonkontrol 2 controller mainly just for transport controls, but the faders are good for adjusting sends when needed and you can program the buttons to do whatever you want. I power everything except the laptop off of DC. The cart is cute and tiny!

On-Stage MSA5000 Mic Stand Laptop Mount https://a.co/d/9wHHuSe I don't recommend moving the cart too much with the laptop on it but here's how I do it. Tray on a quicklok on a vertical riser.

In my union world, for some reason, it's understood that tier 1s will give you a lower kit rental than a major show. Because they have less money? Doesn't make any sense to me. A rental car place charges a rich man and a poor man the same rate. But that's how it works. Whatever two consenting entities agree to is up to the parties involved. Charge what you can, and what you're willing to work for. Don't work for less than that.

Thank you

I thought they were all "D"'s. What's the difference?

I get walkie hits on one of my booms sometimes also in A1, using lectro sharkfins and a Venue2. Your friend at Gotham is right.

I have a small stingray bag that makes keeping the Tx far away a pain. But I got the 1/4 wave antenna which I feed up through my harness and that does the trick.