bperlman

So, what does this fox-hunt van look like? Not that I'm planning on breaking any laws.

Clearly, as I recall from the last time we were here, there is no right or wrong answer to Jeff's query. We all have our reasons, our comfort levels, and production demands to consider. I work almost exclusively in commercials, and do not run a second "back-up" recorder. A second disc is very rarely asked for, and if they really want it, I pull the files to my lap-top and burn while wrapping. Usually, just knowing that I have the files saved on the recorder is enough to satisfy production. There are a number of reasons why I work this way. I use a SD788T so even with a total machine failure I still have the CF card, and at worst will have only lost the last take. A second 788T is only minutes away, so any delay will be brief. Now for the non philosophical reason. In a effort to get smaller, I lost the big mixer, (yep, so-long big fellow) and use the CL9. Being a control panel, it has no way to feed a second recorder. So I would have to go through the 788T, which sort of defeats the purpose of a simultaneous back-up. Yes, I know I could split the feeds and run them as pre-fade ISOs to the second recorder but... For me, it's all about keeping things simple. Bruce

Hey Richard, how do you like your PWS helical antenna. I remember they were discussed a while back and Dan Izen and others swore by them. I know they are a bit pricey, but worth it? Bruce

This Saturday, June 5, will be the annual Camp Cuculoris, a high noon gathering of commercial crew folks at the Sagebrush Cantina. It's been held on the first Saturday of June for a number (5,6,7?) of years as a way for us to reconnect with old friends and recount tales of the "good old days." I've managed to attend a few times and was always glad I did. A couple of beers, a few laughs, and no one tell us "we're back". Things start at noon but usually get jumping by 2 or 3 and continue into the early evening. All film people are welcome. Bruce Sagebrush Cantina 23527 Calabasas Road Calabasas, CA (818) 222-6062 DIRECTIONS: 101 Frwy. Mulholland Dr./Valley Circle exit

My pleasure to help, Jeff. I can't count the many things that this site has helped me with. Bruce

Personally, I think any form of hourly rate without a full day minimum is a really bad thing to agree to. You cannot take another job. They've bought you for the day. You are not a plumber. If you want to do them a favor and come in for a few hours to record some WT or something, and you've got nothing else going, then that might be acceptable. But for a shoot day? If that gets started we all go down in flames. Sorry to sound like such a hard ass but hourly pricing, whether it is your choice or not, is a form of undercutting and a dangerous precedent. Bruce

Now it all comes clear. Thanks, Richard. Bruce

Hey Jeff, in your photo I undertand the 4in & 4out to CAT5 parts, but what is the longer cable on the right. It looks like an XLR to some sort of box? Bruce

I wouldn't worry too much. The 416 is a pretty robust mic. Short of using it to hammer nails or dunking it in the ocean it will tolerate a fair amount of normal use abuse. If it's down for the count you'll know it.

Anybody have a powder coating facility they like in the Los Angeles area. Finishing up a new cart and it is almost time to coat. Also, any dos and don'ts re: finishes. Thanks Bruce

I had exactly the same situation as Jeff once, and have also used two tracks in a lip sync situation a couple of times. The director was paranoid about exact lip sync. But beyond that always mono. Bruce

Actually there already are systems for doing this. Although I haven't personally used any, I've been told that they have been used at large multi-camera events like outdoor rock festivals. http://www.horita.com/gpsvideo.htm http://www.masterclock.com/data_files/GPS200A_um%20_V2.1.0.pdf Bruce

Hey Shug. It's actually Peter Engh and he is/was located in Minneapolis. I don't know if he still makes the little 2 channel mixer - it's not on list product list and his price list is dated 2005. Anyhow, something like a Sound Devices MixPre would certainly work or even a splitter with an on/off for the slate mic. http://www.peterengh.com/products.php Bruce

Gary was one of the top dogs when I rolled into town from New York in the mid seventies. He was one of the few mixers who were doing commercials. Although the pool was small in those days, he was more than willing to be helpful to the new guy. Gary was the kind of guy that demanded respect for the sound department on the set - and got it. RIP brother. I'll raise a glass tonight. Bruce

I agree with Phillip and Crew. And certainly things are extra tough in this economy, helping the downward push on rates. It will be interesting to see what the rebound is like as business recovers. I suspect it will continue to be a struggle to get what we feel is fair compensation for many of us. This has never been a career for the faint of heart. It requires knowing what you are worth, what you will accept, and being willing to say "no thanks" to ridiculous offers. Unless you take a staff job, you are a one person business. Approach it as such, with professionalism that includes understanding the pool you are swimming in. Sometimes you have to put yourself in the producer's shoes when considering an offer. And other times you have to just walk away and let them shoot themselves in the foot. Yes, the business is changing. For better or for worse, only time will tell. But a career as a sound mixer will always be what you make of it. If you run your business well, you will survive and prosper. If you allow others to define your success... You can guess the answer to that. Any way you look at it, it beats digging ditches. Best of luck, Bruce

I'm into week three with my CL9 and very happy. I began with the 788T when it first came out, then gave up my big mixer for the CL8 when it arrived, and finally got what I was hoping for in the CL9. There are things to get used to, but it's basically a pretty easy learning curve. There are a some things that I would like to see changed, like the lack of a slate mic on the panel and the poor quality of the 788T's internal mic. Sound Devices has a decent work around with the use of input 8 for an external mic, but it requires some clever sharing of the input if you need all 8 - I use the Peter Eng 2 channel mixer for that. Also, if you feed your boom op out of the CL9's headphone out - the one on the back of the unit - their feed is tied to your feed, so have the same level as you and they monitor what you hear. If you PFL a track that's what they get as well. The solution is to devote one of the six outputs to their feed, but you tie up an out. No big deal but... All in all the CL9 offers a lot for the price and I can confidently recommend it as an alternative to a full function mixer. Hope this helps. Bruce The infinite trims take some getting used to and are definitely a pain when in the EQ frequency mode. It take about a million turns to get anywhere. It would be sweet if they could make an option to change the turn range.

Thanks for your input, everybody. I think I'm going with the Marantz 661. Love the Sony but it doesn't record MP3 which is a must for transcription. I know I could convert the files, but just another step I'd like to avoid. Bruce

It seems there might want to be a section about practical work protocols - the mixer's relationship with producers, directors, actors and other departments. Bruce

Which one, which one? I'm looking to add a small recorder to my kit for the odd SFX, wild line, VO, etc. There are a number of choices and I am curious what others are using. I think I lean towards one with XLRs. Also, the Marantz PMD660 uses CF cards which would make direct import into my 788T easier. Any thoughts? Bruce

Is anybody using or familiar with the Sennheiser 2000ENG hop package. Bruce

I can't offer any advice on issue 1, other than, with me, it's usually that I forgot to re-arm something I hurriedly shut down. The RECORD PENDING warning is usually a result of multiple command requests. SD recorders need to perform one set-up task at a time. The recorders require that a task is completed before entering the next step. No stacking of commands. My most common mistake is to double hit the record button (from stopped). The "collision" warning clears itself relatively quickly, and recording continues, but not before my adrenaline dies down. Hope this helps. Bruce

Yeah, I understand that. But since I haven't heard anyone mention this as a system they use, I'm wondering why not? Is anything lost in this adapted 2 channel system - i.e. audio quality, reliability etc.? Obviously, you can't have independent control of each channel but you could do that at your mixer output. On another note, I currently use the Lectrosonics LMa & UCR100 as hops for scratch feeds. They work well for that use but really aren't up to more than that. The LMa's are digital hybrid and sound fine, but the weak link, quality wise, is the UCR100 which is analog. I've recently experimented with two LMa's (since I already own them) to a Lectrosonics SR and have been impressed with the results. Although the LMa's are lower powered, I'm usually close to the camera(s) and signal strength is not an issue. This may be a way to save some money while getting respectable results. Just some more thoughts on the subject. Bruce

Is anybody using the Zaxcom STA 100 or 150 stereo adaptor as a way to get two channels of audio to the camera (for the price of one transmitter & receiver + the adaptors)? I'm still looking for a new hop method. Bruce

If they shot today I guess we'd be expected to wire them. Um, I just sayin'...

Happy New Year everyone. Forgive me, I realize that this subject has been raised often over the years (yes, I reviewed all of the previous posts) but because of the constant evolution of wireless gear and electronic cameras, I'd love to get some feedback about what people are using for their camera hops. As the cameras get smaller I'm finding that my use of Lectro 400s is meeting with more resistance. Shooters don't like their size, don't want to wear a belt pack, back pack, etc etc. I know what is available from Zaxcom, Lectrosonics, Sennheiser and Sony but what are folks actually using. I wouldn't mind knowing what your dream rigs (when you win the lottery) would be either. Let's have at it. Bruce