Nikolozj

Somebody?

Hi guys, I just moved to United States California from overseas. It's been about a month. I'm trying to gather some contacts to get into business here. My credits are on my website and you can find me on IMDB as well: http://www.nikojobava.com http://www.imdb.com/name/nm4767310/?ref_=fn_al_nm_1 I heard there's a lot going on in the SF Bay Area right now, lots of non union projects. I'd be glad to join not only anything that's in Bay Area but I also don't mind travelling down to LA Let me know if anyone needs boom op. Also, advice and suggestions about what else I can do to get into the game here are more than welcome. Thank you!

Thanks senator! As usual, very helpful!

Sure! It's Ni-MH batteries (NP-1 style) and the charger is also Ni-MH charger. And also charger and batteries are same brand. http://www.switronix.com/products/batteries?page=shop.product_details&flypage=flypage.tpl&product_id=30&category_id=34 http://www.switronix.com/products/batteries?page=shop.product_details&flypage=flypage.tpl&product_id=25&category_id=30

When I charge it again, the charger shows "solid green" after a while, which means that it's fully charged. Then I load it and it drops to low very fast.

Hi jwsound, Got some trouble here, dunno what happened to my brand new np-1 batteries. It worked well, but once I left them on charge over night, on switronix NC-2LJ charger. The next day it discharged very fast. It's like, charger shows full, batteries itself on their own meter show full, once you plug it in and start it going, it shows lowest level on meter and recorder as well, shows low volts... I never had such problem with older model of Switronix charger, I used to leave it over night and it would charge it and everything was fine, but I got this new model Switronix NC-2LJ, and I couldn't find anywhere in it's manuals or whatevers, if it has automatic switch off after charge...... Does it? Did I overcharge it? The other thing I would think is that power may flickered in local power grid and that caused something maybe? It might be also that power went off and came back.....

As well as any other instrument player, because it's mostly about memory. I've heard that anybody that studies foreign languages can easily learn music notes, which has something to do with remembering small things.

Good example. In that case, isn't it necessary to inform producer as well (which is probably mixer's job, as long as it's the last option), that his/her costs might gain on post?

studiomprd, Actor's face was moving, so it's hard to catch what's reflected when, but IF there was a reflection, then there was a camera stand and maybe even camera and himself reflected too, together with me... I think this is the situation I got: And I think he as well, is inexperienced.

I experienced this last year. They had one 18K light and didn't have long enough cable for it. Another thing is that if generator is loaded too much then its noise gets worse in a way that the frequency range gets wider and it's harder to cut it out on post. Anyway, if light crew is not being helpful what I'd do is warn directors or producers and clap that it's ADR and record it just like I'd do without generator noise. You'll never know what post magicians will do.

Definitely, saying NO is very important. Saying YES, even if it's like "I'm free anyway..." gives them example and stimulates them to make such deals in future often.

Yep! I work with same motto and I told him it's opposite. But in response I got this "I know everything" expression on his face and he told me not to argue with him. I don't know how to communicate with him.

Hi everyone! On my current project I work as 3rd so I don't get to deal with DP a lot, but last night I had to cover boom op and had some difficulties with him, things he pointed out were ridiculous and didn't make sense. Seemed to me little bit exaggerated "professionalism". We had close up of a guy that had glasses on. There was one kino flo on top and one silver light reflector on bottom for face. The frame bottom was on chest so I could get very close from below, but he told me not to, because I would be reflected in glasses and it didn't make any sense, because if I'd be reflected, then the reflector would also and his camera stand too. Then I changed position and held it on top, below flo and it was definitely not making any shadow on actor's face, because it was mostly hitting reflector and he warned me not to go under flo not a bit, which meant I had to go too far from his mouth. First time working with him (hope last), what do you guys do when you have to deal with such unique DP's? By the way, he was "teaching" me that if boom op gets in frame at least twice a day, then s/he is considered to be a non-professional.

Thanks a lot, for responses! studiomprd, Yeah, I like to think that it's PA's responsibility. Last night we had a bunch of drunk neighbourhood people that wouldn't just shut up and it was a little extreme to go and talk to them, even PA's or AD couldn't do anything. It would end up with trouble. galwaysound, Good trick! I don't have a car tho! )) Jan McL, Weelll... They placed it wherever they wanted anyway! :/ I'm not from US neither and we don't have anything like union here..

Hi everyone! I'm glad I found this topic here. Currently I'm through a project as a 3rd for a first time. Previously I only worked as a boom operator. So far, I'm doing anything that I see and think is need to be done by me and plus whatever mixer or boom op tells me to do. Here's what I do from the beginning of day: 1) Getting cart and all equipment out of car together with boom op and taking it on location 2) Asking mixer where he wants his cart (is that extra?) 3) Getting AC, setting up cart, make sure everything's operational 4) Setting sound on camera, playback, director's... 5) Syncing with camera 6) Battery charging, replacing and generally watching over them 7) Putting mics if I'm asked to And whatever else I'm asked to do..... What I DO NOT do: 1) I don't deal with near location noises, where you have to deal with actual strangers, telling them to be quiet or have to knock on some next to set apartment and tell them to turn off the TV... I tell location stuff about it and ask them to take care of it. Of course if the noise is near and non-human I try to take care of it myself (like water tap running, or refrigerator or anything...) Is it wrong? Do I need to do it all by myself, even if I have to knock on the door and deal with some strangers? 2) I do not take notes on report sheet, because mixer does it himself 3) I don't fix things on location, I don't even take soldering things there, how important is this? 4) I don't put mics on artists, because mixer does it. I guess this job is depended on mixer, whether s/he wants me to do it or not? Reading this thread I find Utility is far more than I thought it would be. Yesterday light guys where asking me where to park generator for the next day, I told them where to. But I thought maybe ask mixer too? Who decides where to recommend generator parking? Another thing I'd like to know... I'm first time on 3rd and I had some trouble with producers that probably happened to have 3rd sound guy first time too.... they offered me a half of a daily salary of boom operator and I rejected it and stayed on boom op rate and after some talking we made a deal. What I'm wandering is.. How different is utility guy's rate from boom op's ?

Sound Forge Audio Studio 9.0 software allows you to generate frequencies from 0 to whatever sample rate your computer will have. My laptop's integrated crappy sound card can generate up to 11 000 khz. I usually use it to test speakers. always sounds spooky

MKH50 requires 100V. I was surprised when I first time actually saw it on multimeter, even tho it was on 48v phanom.... I thought something was wrong with mic, but then I heard that it operates on 100V, I still can't get how it gets 100v out of 48v. Probably has some IC amp inside?

hmmm..... I guess the word "euromodule" is spelled somehow and everyone's avoiding reading or typing it.. maybe if you ask "you-know-what", someone may respond?

John, no upsets! Your post was very useful and thanks! I'm looking into those brands. However, to avoid additional soldering job, I'm still desperately trying to find already made one. Jeff, Thanks for noticing that! So I guess the only way to supply boom is through 788 mini XLR. I assumed that the CL-9 output jack can be linked to any output of 788.

John Blankenship, Choosing dealers is not something that I decide in this case, so........ Anyway! What would be best setting for boom return signal for CL-9 with MM1, can anyone suggest? So far: an XLR-M and a TA3-F (for boom op feed) at the 788 end and an XLR-F and 1/4" Jack plug (for boom op feed) at the MM1 end is the best option? is the best option?

Sure it's an additional controller! Well, theoretically I thought about the same configuration that you're suggesting. However, the TL-9 Headphone output socket, on the backside of the controller, confused me. So it seems that it's better to supply boom op with 788 mini XLR output? And another thing, does any company make such cable setting or do I need to make it by myself? I couldn't find an appropriate one on bh website.

Thanks for responses! and what windshield do you use for ext for these?

Hi everyone! I have one important question regarding CL-9. I'm going to go for Sound Devices MM-1 Mic Preamp for Boom and I was wondering what kind of cable with what kind of connectors do I need to make it work with CL-9, with talk-back and everything......

Hi everyone! I plan to buy schoeps CMIT5 with rycote windshield full kit (link:http://www.bhphotovideo.com/c/product/583840-REG/Schoeps_CMIT_WS4_SET_CMIT_WS4_SET.html ) and schoeps CCM41 LG (link:http://www.bhphotovideo.com/c/product/595924-REG/Schoeps_CCM_41_LG_CCM41_LG_Supercardioid_Compact.html ) I am confused about the lyre choice for this mics. any help will be appreciated!

beware of peace!! what about this http://www.globalresearch.ca/index.php?context=va&aid=28295