Paul Graff

When your Countrymen B6 lavaliere mic fails at the head end (not at the connector)... Send it off to Countryman Associates in Menlo Park. Their technician will examine it, and if they agree that there is a failure at the capsule end, they will replace it for a pretty decent discount. I just did this with three of them and they sent me replacements wired for MM with WP connector for $275 each. They don't require a RA number, just a note enclosed with your contact info. But I think it's prudent to give them a call first. Just thought I'd share that. Paul

Count me in, Pascal. It would be great to meet you. Paul

At this point I can only join the chorus of voices saying what beautiful work this is. Both the idea and the execution. Thank you, Simon. As to the weight distribution issue I've had the bulk of the weight on my waist for years now when working out of the bag. Most recent incarnation is this simple tool belt from the hardware store to which I have affixed a couple of carabiners. It's low tech, but clipping those to the D rings at the bottom of the bag makes a huge difference. I also keep additional items in the pouch and another you can't see in this picture. Paul

I loved this thread from beginning to end. Thanks to all for the inspiration. I bookmarked several pages. I am a lifelong biking fanatic, but since living in LA (15 years now) this has manifested primarily as mountain biking (tons of that here) and also bike paths along the ocean. I've bike-commuted to jobs when the gear is already there, but this thread has reawakened my research into all the cargo, trailer, and electric assisted options. I've been intrigued by that, but in all honesty there are very few jobs I do where that would be a viable option. Grocery shopping is another story. jwsound is truly the best. I've been away too long. Gotta find some time to catch up on all the brilliant ideas here. Paul

I have a couple of 8050 mics. The proper mount will make the huge difference. Long story short, when the Invision mounts came along I was able to love the mic. Just get the proper one as the mic is very light. When hardwired to my Fusion I can create a custom low cut in the EQ section which is totally effective. When using wireless boom I had high hopes for the PSC Universal Power Supply, but have found the high pass filters take away too much low end to be usable. The mic sounds castrated. That power supply is still useful for the switchable pads, which are very handy (especially for the Sanken CS-3e which has a hot output). Best solution when wireless has been the Schoeps LC 60 U inline. http://www.schoeps.de/en/products/lc I haven't used Sennheiser's MZF 8000, but it is hard for me to imagine that -3dB @ 160Hz would be very helpful. And for that kind of money, might as well buy the Schoeps LC 60 U. Paul

Yes, really nice. Big smile here. Thanks.

Hi James, We met on those Disney promos last year and I've been meaning to get in touch, so I thought I'd chime in. I think Andy is right about Block 20, but 25 is currently very good in LA. Two DTV stations and the other half of the block is wide open, in my experience. It's one of my main talent blocks and I never have issues with it. Paul

Of course, you post under a pseudonym, so there is that... Fun thread, especially the sly humor on signal to noise ratio of Mike. This pervasive (I dare say intractable) condition has kept me away from this site in recent years, but perhaps there is a lesson to be learned in tolerance and acceptance. Or at least skimming. Sigh. Like many, I still have a T-powered 416, but haven't used it in years. Tellingly, I haven't sold it either. I was going to point you to the used CS-2s that Devendra was selling, but I see that they sold. Keep your eyes open for bargains and listen before buying. Used gear can be a great bargain...sometimes.

This is perfect, Scott. I just ordered one. Thanks. I use passive speakers with a QSC amp that I've had for years. I keep almost buying powered speakers, but the ones I have get super loud, work great, and never a hum. On doc jobs I always have that X-mini II in the front pouch. Glad you mentioned that, Phil. I love that thing. I've had and have a few other in-betweeners, but this new purchase looks like it will be juuuust right for a lot of things; including personal use. Paul

Hello All, I've been out of the JW loop lately, but I hope to get back to it soon. My boom op had a death in the family and would really like to get out of this if possible. IA shoot under the Videotape Non-Dramatic Agreement. For the Boom Operator, the rate is $42.75 per hour with 12-hour guarantee, so that works out to be $598.50. This job is for tomorrow, Friday, and Saturday. Tomorrow will be rehearsal with stand-ins. Production has rented a 16-foot Fisher boom. It will be mostly one person at a time on a green screen, but long takes with a lot of different talent. They will move very fast through a lot of talent. I (and the boom op) are pursuing other options to replace her, but I thought I'd throw it on here as well. If you know me, please email referrals or your own availability. If not, please list some references to people I might know. email is my first and last names plus sound---all one word at gmaildotcom If you click to my info it is there as well. Thanks, Paul

This is really what it comes down to and the reason for never agreeing to a flat rate. Only on very rare occasions in unique, documentary situations (far off the beaten path) have I agreed to flat rates. For normal productions, they are a no-no, imo. As is often the case with jwsound, there is already such a wealth of good advice by the time I read a thread that my contribution seems superfluous. Diplomacy, managing expectations, being specific, and the rest of it... "Amen". Lots of great stuff there. I will add this wisdom from a recent conversation with a colleague of ours: Production, "We don't pay overtime." Crew person, "Oh, that's okay with me. I'm fine with not working any overtime." And another response I felt was wise. Production, "Can you just waive this meal penalty?" Crew person, "I just put down the actual hours I work on my time card. Are you asking me to lie on my time card?" Or some tactful variation of that. I am all about being friendly and tactful in these rare situations, but please remember that it is, in fact, against state law in CA to ask an employee to lie on their time card.

Great photos! Thanks, Jim. Looks like nice mix of familiar faces and some new ones I haven't (yet) met in person. I'm very sorry to have missed the party this year. It's always such a good time and the smiling faces attest to that being the case again. Work intruded just in time to rule it out this time around. Next year!!

Just discovered this thread. My cheeks hurt from smiling. TNG was my obsession in the late eighties. Got me through some somewhat dark years with a beautifully articulated and realized vision of what humanity could aspire to. A fantasy, granted, but one that inspired me and so many others. This has been a most enjoyable stroll down memory lane. My only professional anecdote is I did utility on a movie a few years ago where our DP was Marvin Rush. An absolute gentleman. As kind and professional as anyone I have worked with. Thanks to Scott Bernard and everyone else for sharing your experiences. A true high point in television history, imo.

Thanks for taking the risk, Wyatt. (probably because I never do in this arena) The importance of proper gain structure can hardly be overstated. And at every stage. I suspect Larry's correct that many users run their transmitters too low. I certainly noticed this trend when I was doing utility for mixers. Many were concerned about overdriving the transmitter and were excessively conservative with their transmitter gain, imo.

Thanks so much, Jay. I loved this. I found it very enlightening in understanding the role of the conductor. Fun to watch, too.

Very inspiring, Pete. I came to the same conclusion and just bought a Venue Field filled with Block 19. Still have 411a's as well, but decided I prefer this to the SRa/Octopack or to PSC's antenna distro for the 411A's. This solves the two biggest drawbacks to the Venue Field very elegantly. Thanks, Paul Ditto re: Larry and Lectro. They are the best.

Very nice. Thanks!

This is absolutely just not true, in my experience. Mike can post this opinion a hundred times...nay, a thousand times, as he has, and that will still not help you when you when your freqs hit the fan. You are wise to do research and not just trust that it will all work out. (Try Block 25 on the top floor of a hotel in Dallas some time.) In my opinion, this is not workable in Los Angeles. Block 26 would be okay for mating with the 24s (L + R) for the 3 camera hops, but getting more than that in, especially on the west side, will be problematic. Augment the 19s and put your talent there will be your best bet, imo. For a dozen coordinated talent freqs on location, not a stage, only Blocks 19 and 20 are currently viable (staying legal and below 700 MHz.) 25 is the next best, but it would still be tight and wouldn't make sense for you anyway, since it would render the 24s and 26s you have useless for camera hops. Paul

I'm with Jeff on this one. While the term recordist might often be more technically accurate, it leaves an impression of a "mere" technician, pushing the record button. I notice the term mixer is puzzling to many producers, especially the younger ones, who connote the title with DJs mixing music in a nightclub. I think the best we can do is to make sure the word "production" always precedes the words "sound mixer". This distinguishes us from re-recording mixers and other post-production roles in our department. I also think it's true that there is often (but not always) a correlation between the respect we receive and the degree to which what we do can be replaced in post. I mix a lot of documentaries and documentary style commercials in addition to scripted projects. Whenever looping is not an option there seems to be more support for me to have what I need make the production tracks as good as possible. Paul

Reading this makes me realize how long it has been I have smelled this. Decades I think. It was ubiquitous growing up, but California (and some other states) has vapor recovery hoses that recapture that. Hadn't thought about that smell in years. Those VOC's are big time ozone destroyers in addition to being toxic to us.

Another great thread, Jan. And an amusing one that I'm sure takes many of us back. Interrupting the director while he is talking to a producer or actor Loudly shushing people during a take...SHHHHHH!!!! Grimacing and looking hopeful when a lav is scratchy. Being tentative instead of decisive. It's really about getting the rhythm of production and not being seduced by what seems like a lull, but is actually a brief window to get important things done (often relating to managing controllable noise). Basically, when to relax and when to tense up. When to wait and watch and when to act. Then hemming and hawing while that incredibly brief window of opportunity slams on your fingers.

I feel so embarrassingly out of the loop that I didn't even know about this until now. I just read the link. What an amazing evening this looks to be. Entertaining, informative, inspiring and probably a little humbling. Very much a longshot, but I would love to go to this if another ticket turns up. Might have to go stand in line and hope for a no show... Paul

That's a great inquiry. I haven't carried a balance on a credit card in many years, but the one time I did it was for gear. I had scrimped and saved for the first few pieces until I had a basic ENG kit. (All used; AD261, Neumann KMR81i, Lectro 190's, etc.). Then I got a long term job (2-3 months) and put about $35,000+ of wireless and other items on credit cards. I felt the show was solid and hoped and prayed our star didn't get in an accident or something. I had a good rental and paid it off by the end of the show. Since then I've paid cash for everything, but that initial big investment got me over the hump. I think you are the best judge. You gotta take risks sometimes, but calculate them carefully. Like Robert says, if you buy used items they will not depreciate as much. I have to go back to what Philip Perkins said in another thread, "Buy the gear you need. Not the gear you wish you needed" or something close to that. Good luck! Paul

I gotta give a big "AMEN!" to these words of wisdom. Well said, Philip. I mean... unless the gear's a... bargain... ha. PG

I realize this is a resurrected old thread, but since I didn't see it last year I'll weigh in. I have a couple of 8050s. I like the Invision mount and tame the low end easily with Fusion 12's adjustable EQ. With a 442 or 302 I use the Schoeps LC-60 U; the SD low cuts are not adequate, imo. With wireless boom I use the PSC Universal power supply (it can do -12dB @100Hz): http://www.professionalsound.com/specs/univ_mic_ps.htm Could also use the LC-60U there, or depending on your transmitter, cut the low end there as well. All that being said I ditched the 416 many years ago for Sanken CS-3e and have been very happy with it for doc use. I think it is the best all-around mic, especially in a noisy environment. It also sounds MUCH better than a 416 indoors. CMIT is also a viable choice. I could see using the 8050 on a doc, but it would depend on environments we were shooting in and framing habits/choices of the DP. I love the 8050 for interviews, but usually go to Schoeps CMC6/MK41 if there are two people being interviewed together. I can't speak to the 8040 as I have not used it. Paul