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Jim Feeley

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About Jim Feeley

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  • Birthday January 1

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    Northern California
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    sound, journalism, producing
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  1. Not disagreeing with you. My experiences are just a couple of data points (and I was told to send a demand letter, which in the US has a sort-of specific meaning). We also have to factor in if the person/prodco actually has an office, has assets, is nearby (helpful), and isn't an experienced and intentional scammer/crook. For me, the people were basically disorganized and dismissive.
  2. That's a win for the boom: I'll give the actor some advice...to make damn sure they don't use his tracks. 😉
  3. For me, the decision on whether to actually go to court would depend on the amount of money involved. Small Claims isn't all that much work (though collecting can be). But a legal demand letter is pretty simple to write and send and can sometimes provoke payment (did for me two times). And my understanding is that having copy of a demand letter will be helpful for your tax records if you decide to write off the loss and ever get audited (and I was told that taking a bad debt deduction can push you closer to an audit). I agree that you want to calculate your ROI here.
  4. If you haven't already, check out the great free articles and inexpensive books from the lawyers at Nolo.com (my first call for basic legal/biz info). A couple places to start: Small Claims Court and Business Disputes Resolve disputes and collect debts in small claims court -- without a lawyer. https://www.nolo.com/legal-encyclopedia/small-claims-court-business-disputes-29568.html Small Claims Court & Lawsuits https://www.nolo.com/legal-encyclopedia/lawsuits-court Pay special attention to the articles discussing when you should sue, can you collect, and how to write a demand letter. Their book, "Everybody's Guide to Small Claims Court" is great. And it emphasizes how to resolve the issue before the hassle of court while still preparing you if you do end up in there. It's available at lots of libraries, btw. Even if the dispute is above the limit allowed in your state, the info above (esp the demand letter stuff) will help orient you and move you along even if you end up consulting a lawyer. Good luck!
  5. You'll probably want at least one more mic, such as a Schoeps 641 or a Sennheiser MKH50. SD, Lectro, and Zax all have proponents. Previous threads here will spell out the differences and perceived advantages of the approaches. But Pete's comment holds weight. You might get more feedback (and good feedback) on a forum such as http://www.dvxuser.com/V6/ . There are a lot more solo-operator people over there, and it's still an active place.
  6. Are you thinking of the PSC/Garfield Headphone Softies? I use and like those. Or is there a different product that you like?
  7. This is from an article written for a general audience (from the main newspaper/site for the San Francisco area) and focuses on waivers we might be given at restaurants, barbers, and the like. But perhaps worth a quick look. These paragraphs stuck out to me: ===== Just because you sign a waiver, it doesn’t mean a business would be immune if there was a COVID-19 outbreak that could be traced back to one specific restaurant. If the customers can prove gross negligence, like the servers weren't wearing masks and there was no hand sanitizer, for example, the waiver may not do much good if challenged in court. If the restaurant took all the necessary precautions and the document was specific and worded properly, they may be waived of liability. Liability attorney Richard C. Bell said these are the ways such cases are typically judged, but there have yet to be any examples we can point to. “This is going to be very interesting because we're in uncharted territory,” Bell said. “The courts have never ruled on this before.” He said the wording in the waivers is extremely important, especially in California. The language used needs to be extremely specific about the virus and the circumstances, very easily understandable to anyone and have highly readable text (e.g. no small fonts). ===== Rest of the article: ‘This isn’t Captain America's shield:’ What you need to know about COVID-19 liability waivers
  8. But when trying to pick up one particular speaker while on a noisy street, a Sanken CS3e is mighty handy. And Trey, how many different mics do you own? To the OP, is your goal to just have one mic for everything? Perhaps think about when you do want a lot of directionality and when you don't. Could you consider getting an additional mic for different situations? I reviewed the Rode NTG3 when it first came out and thought it was OK (as in professionally OK), though heavy as you're finding. Replacing that mic with something like an 8060 would be a serious upgrade. But maybe a better move for now would be to keep the NTG3 and get another mic for interiors and interviews. The two classics are a Sennheiser MKH50 and a Schoeps with a MK41 capsule. Or if you're thinking of eventually getting an 8060 anyway, perhaps you'd like the 8040 (which some people seem to like). I'm not really familiar with DPA's mics, though plenty of people like them. Maybe (=maybe=) consider some of the "poor-man Schoeps" options such as the Audix SCX1-HC... I say maybe because when I borrowed an Audix, I thought it sounded pretty good (though not great) on axis with a basically stationary speaker, it wasn't as great and/or forgiving when the speaker was moving around. The Audix didn't have the great and forgiving off-axis response of my Schoeps mics (but hey, it's a whole lot less expensive). I use my Schoeps mics all the time. Great for sit-down interviews and also for capturing unscripted/improvised/untrained dialog from people who move unpredictably. The Schoeps MK41 capsule handles those moves so I still get consistent sound. That's good if the mic's on a stand and the interviewee is moving, and also to smooth out my good but not world-class boom technique, or if I need to cover two people speaking at the same time. But it's not my only mic. If you only have an 8060, and you don't mainly work in scripted narrative, and your technique is still improving, you might get in situations where you wish you had less directionality.
  9. Here's an article from 2017 by, "Josh King [who] was White House director of production for presidential events from 1993 to 1997." It appears the change to one close mic was largely because of the way Trump like to work a microphone. The article includes some history and some pix (including of Nixon with four SM57s): TRUMP’S BIG LEAGUE MICROPHONE A golden gooseneck And if you -really- want to know more:
  10. Is a Royer R-121 and SM57 combo no longer a common(ish) thing? Royer even makes a little mount to make it easier to position and align phase with those two mics: And here's some PR stuff from Royer's site that mentions SM57s (and some other mics in addition to their own): Recording Electric Guitar But really, I'm hardly ever in recording studios now. So this isn't a challenge, it's a question.
  11. IIRC, there's a mode in many cameras that lets users record display info (or at least date and/or timecode) onto the footage, sort of like Fulltime BITC. I think that's a feature most commonly used for videos of legal proceedings such as depositions. Looking in my PDF of the C300II manual, I see this described on page 144, under OSD Recording, with "OSD" standing for On Screen Display. The info might be on different pages in different editions/versions of the manual, but here's a clip from the version I have: If the camera was a rental, maybe the previous renter used it in such a manner, and the camera wasn't reset to default settings before it went back out. But then, it's not something I'd think to check... Was there another recording made at the same time, like to an external recorder or perhaps a MP4 proxy file? If not, the timecode is something post will have to deal with, as John says... Since you're after landscapes, if blurring won't work, could you crop the top and bottom of the image so it sort of looks anamorphic? Bummer. Good luck.
  12. I now feel empowered to mention that I actually first read the subject line of this topic too quickly. I missed the "on" in "Buttonhole." Yes, for real. 😯 In my little doc/corp world, the hidden-lav thing is perhaps different. And remember the Pennebaker-Hegedus film Startup.com? Go to 1:24 in the trailer below...and that's not the film's most egregious exposed lav. I remember first seeing that and going, "WTF?" Everyone in the theater told me to shut up and sit down. Normal people didn't notice, or didn't care. The filmmakers got the scenes. OK, I'll stop saying something even more obvious that that lav below.
  13. I'm all for G3ish wireless to small cams, but you know: expain the options/benefits, choose your battles, move on. And I guess it depends on the gig. Like if a webcast is pretty much an afterthought for a panel discussion or music performance, so you have a decent FOH mix, but you have a pretty long run until you reach the iPhone or a burritocam and you're sending sound through the camera because the web team can't deal with the sync issues (though OBS can...), so the audio's not going to be optimal but you can make it better than crappy. Or if you're trying to solve a problem similar to this thread's OP: Remotely triggered unattended cameras. I don't dig 3.5mm and HDMI, but I can't always avoid them.
  14. I do that all the time. Well not all the time; for instance, I'm not doing it right now. But it's been pretty successful when dealing with longish cable runs, crappy environments, and consumer recorders.
  15. Within a block of me are two camera operators and an editor (recently retired) representing three of the local call-letter stations. Want me to ask them what they did with their presumably huge tape libraries? Also, perhaps BAVC and just about for sure the Assoc. of Moving Image Archivists (which had a great mailing list; probably still do) would have some good thoughs. https://amianet.org
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