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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
  • 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.
  • Interested in Sound for Picture

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  1. Having owned two horses myself the aforementioned advice of always letting the horse know you are behind it is mandatory, even a short kick is very painful. Get to the grocery store and buy up on Dominos' sugar cubes, some apples, and carrots. With the owner's permission, hold your hand palm up with a treat and you will have a friend for life. The few times I worked with talent on a horse I always lav'd them because of the horse's reaction to the boom.
  2. I worked there last winter covering the Winter Olympics for NBC. NBC provided the gear, I don’t recall hearing of any rental houses there. Not much help I know. Tell your client you need to take your gear and will need reimbursement for any license/import fees. At least you will know you will be legal and can work with confidence knowing it’s your kit.
  3. I’ve experienced Arri cams to hold sync throughout the day after being powered down; and I’ve seen them drift after coming back from off speed. Like the others have stated the size of modern sync boxes pales to the amount of real estate all the shit camera dept. puts on them these days. Time for a meeting with DP, Editor, Producer, Director and have DP explain why he/she feels a sync box is unnecessary.
  4. edward chick

    Camera Hops

    I think it comes down to redundancy for the networks. I’ve worked on Dateline, 20/20, Sunday Morning, etc, for almost 20 years. They have always requested all cameras in a multi cam interview get audio. It may be that their editors are working on multiple projects with immediate deadlines, and don’t have the time to sync audio with picture. They do request the .wav backups now. I have had a situation where we shot on a DSLR a few years ago for an nbc feature doc and the editor did use my .wav files.
  5. 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.
  6. Sounds like you had it in the "Unity" mode?
  7. 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.
  8. 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.
  9. 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.
  10. 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:)
  11. 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.
  12. 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.
  13. 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.
  14. 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.
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