jaydgolden

+1

I discovered RVG in college when I kept seeing his name on my favorite recordings. IMO he is a hero. Scott (or anyone else), I'd love to hear about about your experiences/impressions meeting him. Thanks for posting.

Great, I've attached his resume for you or anyone else needing a location or post sound engineer in Ukraine. Alexander Diachenko- CV.pdf

Hi Jim, I can put you in touch with someone there if you're still looking. Jay Alex Dachenko, top guy there. arcturus@email.ua allegincefx on skype

Hi Gavin, I believe the left-handle position can be adjusted for either an under or over grip. There is a rubber stopper that can be unscrewed to allow a disc to rotate around and then the stopper is replaced on the other side. I just started doing a Fisher show and am still learning the ropes. But it's a lot of fun and very interesting after working with the fishpole for ten years or so.

Hello, I'm looking for a ride up to the rally in Sacramento on Wednesday. Most people are flying because the rally starts around 10:30 and it is a 5 hour drive. But if you have made plans to drive up and back for whatever reason, and you have space for 1 more please let me know. I can drive, contribute to gas and sing along to a wide variety of music-- or not. Jay 818-916-2958

Hello All, Don't forget to sign the letter to our legislators in support of CA tax credits. It's on the 695 website.

. . .yep . . . got it covered. Thanks

Hello, I need a union utility to cover me on a tier 0 movie shooting near dowtown L.A. tonight. Call time is 5:30p. Also need you same time tomorrow. Rate is170/day. Thanks, Jay 818-916-2958 jaydgolden@yahoo.com

Hi George, I worked in and around Kiev for a year or so and only once had a problem with wireless interference (working at the national TV station). I can put you in touch with the chief sound engineer at the station 1+1 if you need a contact there. He would be a good person to talk to about any questions or concerns you have. Jay

To PLo128: I work as a boom operator and your story strikes a chord with me. I sometimes think I will never find that perfect working relationship like the one I imagine JW and Don and others having, but I don't stop looking for it. I'm not much for the military model. I need to respect a mixer on my own terms not just because he sits in the chair. Holding to that ideal has led me away from a few mixers, but I've learned from every single mixer I've worked with.

I use lavs when I don't think I can get complete coverage, but I try to make my boom track usable 100% of the time. I always ask myself why would they use the boom track over the lav tracks-- and I try to give them a good reason --even when the lav tracks are decent. The biggest reason is usually that the boom track sound matches better. It sounds like the people are in the same space. Often the lav tracks-- even when they are good--don't match very well.

But Movies like "The King's Speech" and "The Social Network" rely on boom tracks, right?

You guys should come to Ukraine. I guess they are twenty years behind the times. You can boom all you want.

Hello, I've been working as a boom operator for a number of years and have starting working regularly as a mixer over the past two years. My strategy as a boom operator was always to put the actor's voice into the "sweet spot" of the mic as best I could. If there were a number of actors this might require very stealthy cuing, a wider pattern mic, or two boom operators. My idea was to be a close as possible to the edge of the frame line. As a mixer, I'm listening more for evenness in the overall scene, balance between the voices of the actors and some generally consistent sense of place as far as the sound goes. It seems preferable to having the sound of a voice come in and out of "focus" as the boom operator works the scene. I wonder how other mixers and boom operators approach it.

Sometimes the director is very clear about only needing the wide for the opening and closing of the scene, often before the dialogue begins-- this is especially true for television. It never hurts to ask and often it opens the way for a compromise which beats being frustrated all day.

Hi Nick, No, we are in FREE RUN mode. In a situation like you describe, I think Free Run is the way to go for double system. I think not many doc directors like to see a camera tethered to a sound man. Jay

No, that is not our camera. It is the crew fooling around. I am in Kiev working on a scripted "reality style" TV show called Family Drama. In Los Angeles the stakes were always high for me: trying to get a foothold on the ladder to some decent work. Here, not so much. People are more willing to laugh and have fun. The good vibes are having a warming effect on me. And they seem to appreciate my professionalism.

Hi NMW, I have been working with the HPX500 using the 744t to record double system--with the camera as a master for timecode. Please note: when the camera is switched off there is a fluctuation in timecode. So don't forget to rejam when the camera is switched on again. Jay

It was a cold drizzling night in Kiev. I walked into a bar to hear a live band. The sound man was nervous. The leader singer was furious. The vocal mic was totally distorted. What had I walked into? I was a down on my luck boom op from LA. I came into the bar for a drink and a little R&R. But wouldn't you know it. More sound problems. I took a quick look and identified the mic as a dynamic and the board as a Yamaha 01V 96. Yeah, I'd seen this board around. I knew it had plenty of menus too. What I didn't know, was exactly what a menu was. Tonight, I would find out. The sound man looked at me with a mixture of hatred and confusion. He wasn't going to let any stranger muscle in on his territory. I felt the same way. I was content to let him figure it out. But word was out. I was from LA and I did sound. So I stepped up and did what any self respecting boom op would do. I tried to help a brother out. Right away, I looked at the trim knobs. Strangely, they were all almost down to zero. "Where are the trim controls?" I knew they had to be in one of those menus I had heard about. No luck. The sound man didn't speak English. I saw a -20db pad at the top of the channel and pushed it. The mic cut out completely. I pointed to an empty channel. This sometimes worked for me when I ran an ENG rig. He plugged into the new channel, programmed some settings, and for a moment we thought we had it fixed. But when the singer returned to the stage, it was still the same inarticulate noise coming out of the speaker. And I noticed something else. The red peak light at the top of the channel wasn't lighting up. "He needs to back off from the mic," I understood him to say. Maybe this was true. "And have a few more drinks." I couldn't argue with that, so I took my seat and listened to the band. Next day, I woke up fuzzy headed from too much vodka. I felt my way to the computer and opened up the file on the Yamaha O1V 96. An impressive little machine. I also remember a post I had read on jwsound by Randy Thom. He wrote that too much gain at an early amp stage might not translate to peaks in the meter down the line. I read about the menus and decided, if I could have gotten to that input trim menu, I would have had a shot at fixing the problem. Maybe and maybe not. I looked out the window and stared at the cold drizzle, wondering what the folks on jwsound might have to say about it.

Hello all, Has anyone had experience protecting for the full frame when shooting 35mm? I thought I only needed to stay out of the 1.85:1 frame, but lately I've been told I'm "in" as soon as I can be seen on a monitor. Does the telecine lab record the full frame for dailies and leave out the 1.85:1 framline? Is this a discussion any of you have had with the director or DP? Thanks for sharing. Jay

Hi , I'm looking for a boom operator to work for a day in Santa Ynez on Sept. 20. Please give me a call or email. Thanks. Jay Golden- 323-445-1637 jaydgolden@yahoo.com

Greetings, I want to know if any boom ops get a kit rental for their pole and whatever else they bring to the set. Jay

Is S overmodulation acceptable on a production track (to later be removed by a de-esser in post) or is it a problem that needs to be fixed on location?