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edward chick

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About edward chick

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    Hero Member
  • Birthday 02/10/1967

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  • Location
    Lapeer, Mi
  • Interested in Sound for Picture
  • About
    Twenty seven years in the biz. Exclusively sound for video for 16. Learned on Nagra. Transitioned to video and now file based recorders. Love the challenges and the people as well as the experiences. Mostly bag work for doc style commercials or corporate image, sports, live network new and package news to round it out.

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  1. edward chick

    Camera Hops

    Depending on available real estate (which is at a premium on cameras these days), I use either a Lectro SR5p or LR receiver. Network clients still rely heavily on camera mix so it’s sr5 series for them. Commercial clients usually just want a scratch for the edit so they get the LR with Ambient tiny Lock it bongoed together, works fine. The Wisycom ENG series is looking good I like the size of the receiver. Not sure about the Deity and 2.4ghz, I do like the fact that manufactures are starting to take our needs into consideration though.
  2. edward chick

    Alexa Mini audio menu

    Sounds like you had it in the "Unity" mode?
  3. edward chick

    Mercedes Metris OR Chevrolet Express 3/4?

    I had a 2008 GMC Savannah 2500. It was a cave on wheels. I had custom sound proofing and industrial carpeting put in it. It totally made difference in road noise. I think I might of had the alignment performed twice, both when I had new tires put on it in 180,000 hassle free miles of ownership . I ran Michelin LTX tires on it, those coupled with a factory installed locking differential got me through Michigan winters very well. I also had about 300lbs of sand ballast in plastic containers that I bought online and that helped with traction in the winter. The only time I really got stuck I just dumped some and under the tires and away I went. That was in about 8 inches of snow.
  4. edward chick

    In ear monitors for production sound

    I've been using the Shure SE215 series with good results. Fairly inexpensive. I've used them at car races other sporting events with loud crowds, etc. Cable is just the right length where it's not getting in the way.
  5. I worked one that was streamed on facebook live. It was with a famous chef at a restaurant he has in a Detroit suburb. We rehearsed it a few times. Then went live. I utilized my ifbs so the Director (was in a back room) could give the talent cues, there was no one on the other side of the country calling shots like a network news multi cam. It went off pretty smoothly.
  6. edward chick

    Rain protection sound bag

    Depends, If I know I’m working coverage of an event (usually football) that I HAVE to be in the weather, I have a full length poncho used for hiking, that is in it’s stuff sack attached to the bag ready to go,it covers me and the bag. If the weather is looking iffy and the approaching front is not too ominous looking, I have the ORCA standing by either on my cart in or in a backpack. Usually for scripted shoots that are commercial or web content, we stop shooting if there’s rain, unless the script calls for it or schedule demands it. Camera is hydrophobic more than us:)
  7. edward chick

    Why Comteks?

    Why not?
  8. edward chick

    Sound Devices recorders - which way to go?

    I own both a 664 and 633. The 664 since it first came out. I have never had any issues with either machine “freezing up”. Pre amps are great on both machines.
  9. edward chick

    Timecode and Varicam?

    Hi Alen. I have not worked with the new Vari-Cam, but if it’s like the previous models and the HPX series, the time bass is probably a constant 59.94. When the cameraman sets it to 23.98 the Vari-Cam uses a pull down method to achieve the 24 frame look. I have always set my 664 or 633 to 29.97 nd, same for the sync box, the camera takes a cross jam from the sync box and everything itimecode wise is proper. Drop frame will not work if camera is at 23.98. Someone more familiar with the math part of the equation can better explain what is going on. There have been several posts on this site regarding this very topic.
  10. edward chick

    Sound is no longer respected on set?

    Jay, think of it as teaching an entire generation that thinks picture is the only element that matters in today’s production environments. Your knowledge is screaming to pay it forward.
  11. edward chick

    camera link

    Lately due to the decreasing amount of real estate on cameras, I’ve been using Lectro LR on cam for scratch. I also use them in my bag when I need extra wireless. They are usually good for the day off Lithium AAs and the range is pretty good especially if I use the 100 mw option on the LT transmitter.
  12. edward chick

    Lav on Fireman suit?

    I recently did this for a doc for a certain sports network with the Detroit Fire Deparment. Production was hoping to go on an actual fire run with the fire fighters. Since this was a doc situation, we had to be ready to go when the bells rang. I did not have a lot of time to consider where to mic them, so I put the transmitter in the interior pockets of their fire oats, ran the cable up zipper line (taping it down) and using a vamp clip, attached the lav (Sanken COS 11 or Tram 50) covered with moleskin and let it set. Unfortunately for us, our particular engine house did not get any fire runs that night, so I could not put the rig to the ultimate test. However, we staged the FF gearing up and getting in the truck, and the rigs held and sounded pretty decent for being underneath the coat. Obviously for a staged production you have more time and ability to consider other options such as a helmet rig.
  13. edward chick

    633 loose object inside machine

    Had something similar happened to my 664 a few years ago. Sent it in to SD, and it turned out to be the locking nut for the mini hirose power input.
  14. edward chick

    Looking Into Buying Zaxcom IFB

    Like A Few More Years I have both Comteks and Lectro R1as. I find the Lectro have a little better fidelity and range, but when the peanut gallery starts to play “yo-yo” with them, leave them lying everywhere but where they said they did, I invested in more Comtek units. I have the PR216 series and use the M216 transmitter and am amazed at the range I get with them at times. Plus, they are on the VHF band so it’s one less freq to worry about interferring with my ever shrinking UHF bandwidth options. Most Director’s or Producers I work with understand that what they hear quality wise via Comtek is not the same I am getting at the bag. I can go for days with IPower 520s in the Comteks. I do like the fact that you can send timecode with the Zaxcom though.
  15. edward chick

    Working in Canada?

    Being that my main market area is Detroit and we are close to Canada I get a couple of calls a year to work there for U.S. clients in the Windsor and London, Ontario areas. Shortly after 9/11 I had a Producer that was cheap and did not want to buy the proper work permit for me. He expected me to lie at the border and say I was going golfing or fishing. I opted to tell the truth and was promptly motioned to pull into the Customs Office. After about an hour of “what was my purpose?” “You need a permit and it takes two weeks to get one”, I had to sign a form stating that I violated the Canadian Immigration Act of 1978, and shown to the border. Ever since then when ever I go there for play or work my name comes up and after some brief questioning by the booth guard, I am allowed entry. I was on a job two years ago for the NHL in Calgary, upon arrival at the airport I was told to go to Immigration, when they found out I was there for the league they stamped my passport and allowed me to enter and work. Guard stated “ Carnets and this other shit is for YOUR government, we don’t care.” Fast forward to last winter and I was crossing the border in Sarnia, Ontario for an HBO Real Sports shoot In Toronto, the border guard pretty much voiced the same thing. “ I don’t give a shit about your equipment, I am more concerned with who will be seeing the show, HBO U.S. or Canada. If Canada I can not let you enter to work.” It’s pretty much a crap shoot. I’ve been with cameramen who have the full blown Carnet and they still get hassled. I use a Customs for 4457 with serial numbers and gear. I take the gear to local CBP office, officer looks it over and signs and stamps the form, good for a year. My in depth .02 and experience.