Den Nic

Get it to work with Pro Tools and I'm sold

Are you guys talking about the Cmit 5 U or the Super cmit?

Just posting to say I had a good time at the Zaxcom Nomad/Digital wireless presentation at Trew Audio Toronto tonight. Glen Sanders did a great presentation (including a quick shout out to JwSound Group ) and I learned a lot about Zaxcom's products and digital wireless, Thanks Glen/Zaxcom! Also thanks to Trew Audio for hosting the event and for the great BBQ! Cheers!

Great Thread! Not pressing record I've done, DOESN'T FEEL GOOD. Once I forgot to turn the camera's guide audio recievers after lunch, the other guys (exclyding the mixer) said don't tell anybody, it's unimportant and nobody uses it ever, and never heard a word about it. If i had been on my own, I would have informed the mixer, the could have bit me in the ass, luckily it didn't. I've been unfortunate to not have too many mistakes made, but I'm sure as my career goes forward there will be some, and I'll learn from them (As I'm learning from the ones posed here). I had a situation similar to Tom's, but with an inexperienced AD. Low budget DSRL short film with many recent (or current) film grads. When we were doing a scene, I said I needed room-tone SOON, because I knew that the take we had just done needed at least 10 seconds to cover over some noise that had happened (Not over any dialogue). She said "I always let the sound mixer get room tone at the end of the day", I calmly and professionally said "No, I need the tone now, because I KNOW it is needed for this shot, the tone might change too much later". This went on for a bit, and said she didn't appreciate my tone (no punn intended) and got mad at me. I basically said "It's not my intention to get mad, or talk down to you, or anything like that, but I NEED that tone now". She then reluctantly agreed, and once we had rolled the last take in that position, we rolled tone. I thanked her after, but she was still mad. Later in the evening, it started raining, and the tone was completely different, thankfully I got it. I debated whether or not to email her that night apologize, but I decided that I'd be better served (as David put it) to let it die a natural death. Next day I was my usual friendly self, and the AD was good to me (and got me my tone . So not really a mistake, just an incident. If it had come down to it, I would have swallowed my pride and apologized, but every situation if different. You shouldn't beat yourself up about decisions, just try to learn from them and move on. Tom, you did the thing your thought was right at the time with the information and experience you had, and that's all anybody can ever do.

Done

Cool, thanks for the info guys.

Hey Guys, Just wondering, for those who are doing a stereo mix of booms/wireless and recording those two tracks, how often are those the tracks that post goes to? Do they use the stereo mix for the most part unless they need something specific? Or is the stereo mix just a guide for post production (And for IFBs) these days? Thanks!

Where /how did you get the cart painted Zack?

Funny, I thought it was more wide spread. Also, that robe is hilarious. If I was to wear one I would definitely whip out my Red Lightsaber, Sith Sound lol. I don't really care about wearing black, because I really believe it won't help you at that much at all, but if a mixer wants me to wear black, it's his department and it's his call.

Hey Guys, I remember when I was in school and a couple of times afterwards I heard that us sound guys where black so if we got caught in reflection's we'd be safer. Most sound guys I see are wearing black or some dark shade. I usually wear darker shaded, especially black. But in today's age of cameras, how valid is it to try to 'hide from reflections' by wearing black when booming? I mean you still have your arms and face to hide, and today's 4K cameras can pick up anything. (Makes me think of a post before when boomers used to cast a shadow on another shadow and film couldn't pick it up, but technology progressed and that went out the window). Then you have white logos on sound guys T-Shirts. Is wearing black just an old adage that just stuck? One could even argue that wearing a neutrally shaded colour would allow you to be scene on the small screen ON the day, versus seen when they watch it on the big screen and see you moving. Thoughts?

On DSLR short films, once the Camera Op has set his frame I'll give it a quick look and check frame myself (I;m staring at the monitor), usually I'll say "Checking frame". I'm right next to the monitor and the Camera Op is telling me when I go in, I say "I see it, once sec" (I might be checking for a shadow or something else usually), then ether the Camera Op says "You're in" Again OR the newbie director strolls along and joins in, telling me where frame is. Hard not to get mad but I manage, Hey guys, I have eyeballs too!! Was doing the one man band on a student film (Helping out a friend of mine for a day, only student film I've done), and my cable get's tangled on something (everyone else is ready), I say "One sec" as I untangle my cord from a chair or w/e it was, and 5 seconds in the doorknob of an AD asks "Do you wan't a boom operator?" basically saying ". I gave him the dirtiest look, mostly because he was implying a random Student Film PA could boom in my place. I was going to talk with him after, but decided it wasn't worth it.

In a run and gun ENG style shoot I believe it is both the Camera Op and The Boom Op's responsibility to make sure that the frame is clear of the boom. A boom op can be doing a great job, but an unanticipated and un communicated move, zoom, pan, etc can leave a boom with egg on their face, so they have to work together!

"The picture editor can already see the slate on the image; the assistant editor can hear the sound mixer's audible slate prior to the scene. " The shoot I've been on the audible slate is done by the AC. I know this is a bit of topic, but who is used to the Mixer slating and who is used to the AC doing it?

Awesome, we'll just get some @#$%ing random person from craigslist a few days before the shoot to boom operate for us, sound like a plan!

Thank you Mike, very cool I got a response from someone who's worked on the show. And thank you Scott, your father did great work on those shows, may he Rest in Piece.

No one but two! Will look out for it for sure

Nomad All the way

ADR!!

So sweet!

In this article he says he uses a fisher boom, and then lav mics in some scenes: http://news.google.com/newspapers?nid=1876&dat=19960314&id=1rYeAAAAIBAJ&sjid=bs8EAAAAIBAJ&pg=4489,3116711 RIP Alan Bernard

Hey guys, I'm re watching all the Star Trek TNG episodes (my friend got the DVD box set), and I'm wondering if anybody knows anything about the location audio on that show? What mics? Did they use lavs? Etc. A lot of the shots sound distant (suggesting boom) but sometimes I just don't see how you could get in there and boom it with the low ceilings. Also found a picture of a fisher boom on set: Anything info would be great!

Very nice

If you have a 003 and want time code for location recording you could use Boom Recorder, you'd get all the inputs of the 003 in addition to running timecode (either coming in or coming out of one of those inputs/outputs).

I vote we bring back the lab coat look

Interesting. Any other qualifications?