Richard Lightstone, CAS

Yes, I love it. Use it on my "Mini Cart".

Yes, the 695 Quarterly is still in business and will continue to publish. Here is the latest edition: http://695quarterly.com/

It was 17 years ago today, that I lost a friend and Assistant Cameraman, Brent Lon Hershman. "Brent's Rule" was the rallying cry for "12 On, 12 Off". 17 very long years later, we are still waiting. Miss you Brent.

How could we possibly survive without Jan McLaughlin or Google?

I am one of the "Midnight Rider" survivors. I was one of 20 or more crew members on that train trestle that horrible day, February 20th, 2014, where 7 of us suffered serious injuries and Sarah Jones tragically died. Since there are simultaneous Federal Agencies conducting investigations; OSHA, NTSB, along with local officials in Jesup, GA, Sheriffs and Coroners, CSX and others. I will not be disclosing any details of the incident, as there will be many legal proceedings, law suits and possible criminal investigations. Over the last week I've read reports in Variety, The Hollywood Reporter and on many social media sites, including Facebook, a hell of alot of conjecture, rumor, innuendo, allegations, boasting, threats, outrage and finger pointing. I've read the names of people who were called "guilty", long before the justice system has even had a chance to convene. I have read incredible vitriol from people who are hundreds, to thousands of mile away from the scene of this incident. I am ashamed of the mob-like behavior of friends, colleagues and associates, who have acted like we are in the wild west and want a hanging before the judge gets to town. If you truly desire a change in attitude towards safety in our industry - it will not happen by your methods of foot stomping and rabid accusations. Ironically, I was a friend of Camera Assistant, Brent Hershman, who also tragically died, on March 6th, 1997, almost 20 years ago! Haskell Wexler, started a campaign, that is still on going, to demand work hours of "12 On, 12 Off". In 20 years nothing has changed. As someone who was on that train trestle that day, and luckily survived with only deep bruises and a broken heart for a fellow filmmaker, have some respect for the Midnight Rider Survivors and the soul of Sarah Elizabeth Jones and rally for real industry-wide change, instead of a rope, ready to hang those that you believe are responsible.

The cable I built had no resistor in line at all. In my case I terminated it into a 1/4 mono jack that I could plug into the amplifier output. My loops were only about 50 foot, max.

Yes, Jeff has it described correctly, "a snake chasing it's tail". It's been a while and I kind of forgot the right method of making the loop.

As long as the speaker cable or induction loop is connected correctly to your amplifier - it had no ill effect.

I used 4 conductor telephone cable - it's cheap, a 100 feet roll is available at Radio Shack for less than $15. By tieing the 4 conductors together you are quadrupling the induction loop. One end to ground (-), one end to the hot side (+). As the best example, Simon Hayes, on Les Misérables used induction cable around the perimeter of the entire Sound Stage. So the length is dependant on the size of the space and of course the amplifier needs would - in his case be larger. I used a 75 watt amp for an average room. Here is a link to the 695 Quarterly on Les Miz. http://695quarterly.com/5-1/5-1-recording-les-miserables/ http://695quarterly.com/5-2/5-2-les-miserables-part-2/

I'm going to hazard a guess that he was set up there because of multiple location moves and for any running shots.

QSC says it will be available beginning in "April or May" so I'm moving on to a better solution that is available now. It has the name "Soundcraft" in it.

I may end up being one of the early guinea pigs using the QSC TouchMix-8 or the 16. I'm in prep for a bio-pic on a famous band from the day. I was in heaven today, participating in the pre-records of the music tracks at famed Sunset Sound, Studio 1. The two lead actors in the film are part of these sessions, so the ProTools playback requirements got much more complicated. Both the actors and the music producer are dead set on very real performances, with the expectation of live record of the vocals as an alt. So a discussion was had on the use of IEM's during the music playback scenes with distinct feeds for each member of the "band". I'm intrigued by the claim that the TouchMix has Direct IEM outputs; via aux busses 4 in the 8 channel and 6 in the 16 channel version. If I can get my hands on one I will give it a test drive and see if it's worth the price point. The street price of the 8 is around $899 and the 16 is $1299. It's certainly not a production board, but designed more for Churches, or small club venues.

Dave, It would be great for you to do one of your "Show & Tell" videos of the Stingray. Perhaps with it loaded with gear.

Photo, please.

Nice work and great idea, Jeff!

Lots of advice in the Pro Tools DUC Forum. Just google your question and you will zone in on multiple answers.

The Fall edition of the 695 Quarterly is available for online reading. http://695quarterly.com/

I only use the Mix 8 on my small cart and car rigs, the Yamaha is still in play on my main cart. The Mix 8 is a convenient control surface allowing me to easily mix multiple sources and access channel trims.

Constantin, I'm just used to the sound of the HD 25's, just like I got used to the sound of the old Beyer headphones.

Here is a possible solution to those looking for the discontinued and very popular Sennheiser HMD 25's. With thanks to Ryan Coomer of Trew Audio Los Angeles. Sennheiser is now only selling newer designs, but those headsets do not have the same acoustic dynamics of the HD 25's rated from 16 - 22,000Hz. I like my HD 25's and just wanted to add a microphone to accomplish my requirements. The solution was AntLion Audio and their ModMic. http://www.modmic.com/ I got the ModMic 2.3 ($33.95) but they will begin selling newer versions 3.0 and 4.0. They are electret microphones and the solution to power it was the Ambient EMP3.5 48V Electret Adapter. The boom arm can be attached to any type of headset. Here is how it looks. The attachment for the microphone boom arm is in two parts; the headphone attachment part that is a magnet and has a 3M adhesive backing. It's mounting mate which holds the boom arm securely and holds tight to the magnet. Quite ingenious

Very quietly the DGA and the AMPTP began negotiations on November 4th on a new contract that is set to expire June 30, 2014. The DGA Board approved the agreement which was finalised yesterday and will now go out to their 15,000 members for a vote. Just for comparison, here are the percentages of rate increases as compared to the 2012 new IA Basic Agreement. First year: DGA 2.5% IA 2% Second year: DGA 3.0% IA 2% Third year: DGA 3.0% IA 2% Here is a link to the full Deadline Hollywood article. http://www.deadline.com/2013/11/dga-contract-amptp-wga-sag-aftra-negotiations/ And here is a link to the current IA contract. http://www.iatse-intl.org/sites/default/files/morefiles/FINAL%20-%20Basic,%20Digital%20MOA_2012-2015.pdf

In the days of 1/4 inch magnetic tape and 35mm Mag transfers, the Picture departments were constantly asking the transfer house (usually the Lab) to do re-transfers of selected takes. Now that syncing of the picture and sound media has been abandoned by the Editorial department and left to facilities that do that for them, who else are they going to call? CF cards sometimes give bad reads, files are mistakenly not copied to cards or drives, it's all part of the new normal of production. No need to get upset over it, or feel picked on. Send them a new copy of the file and enjoy your day.

Jeff, Eric Goodwin of Pureblend gave me this link that explains it. iOS: About File Sharing http://support.apple.com/kb/HT4094

Jeff, I got myself an iPad mini for the mini-cart/bag rig and use my regular iPad on the main cart and set them up the night before with the appropriate project "roll" numbers. For example, today, I setup the new show project, snippets, show logo etc on the iPad and did not want to duplicate the same time and effort on the iPad mini. Connected the iPad to my mac and copied the .sql file to a folder. Then connected the iPad Mini to iTunes and added that same .sql file. When opening Movieslate on the Mini - voila, the exact same project is there - all I have to do is adjust the project roll number.

Jeff, On the pilot I just wrapped yesterday and on the feature I am to begin on Monday, I will be jumping back and forth from my main cart, with it's own Deva 5 and my "Mini-cart" with another Deva 5, etc in a bag. If I want to use the same CF card I will call my Cart "Folder" (here is an example) "HTML05". Then on the bag rig I'll call that folder "HTML06". The CF card will contain two folders and thus two "rolls", HTML05, 06. I do this since the Deva will start each folder with Seg #01. Since I'm using Movieslate and reference the Segment number, I want to avoid confusion. The Deva and SD have different file naming protocols - I'd still make different roll numbers for each machine.