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edward chick

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About edward chick

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  • 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.
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  1. Hi tonvogt. Not sure if this helps but when I work live shots I use a cellphone for IFB conntction to the control room/programming. I route the cellphone into my mixer then send the feed to the correspondent’s IFB via an aux out. I take it out of the main mix so it does not go over the air. The cellphone input is on it’s own track and can be recorded. I never need to do that for live tv, but it’s an option.
  2. I’ve had Cos 11s go bad at the Ta5 connector before, just sent them in to be rewired. I’ve used DPA 4060 on NHL players during games and never had one go down. COS 11s are a good workhorse some of mine are at least 10 years old. Lot’s of doc, sports, and commercial use. Pro and non pro talent.
  3. Send to Comtek. Service is quick.
  4. Actually I know sound mixers who work live tv for news networks and use Noise Assist and love it. They consider it a game changer. The A1 in Master Control likes it as well as the Director. I don’t have an 888 yet, but plan on getting one soon. I can’t wait to try NA out. I think what others have stated before me, use it on your LR out, but not the isos, and for film style shoots a conversation ahead of time with Post would be in order as to use or not.
  5. I’ve got a CS3e, it’s my go to mic for sports environments I can always count on it to pull out great sound during on the fly interviews post game when players are on the move back to the locker room , inside the locker room when they are being bombarded by reporters, music from boom boxes, etc. It also sounds good in factory and other noisy background locations.
  6. ? I think you are over reacting a touch .. mounting a mic on a horse will not harm it or the sulky driver. Having been to quite a few harness races myself ,until the sport fell to casinos here in Michigan, they are more prone to injury while they trot or some new equine virus. It’s just nature of the event. As for being nervous around an auto, they are trailered to every event. Also, at least in the states, the starting gates are mounted to an SUV which the racers que behind and go 1 lap around the track so everyone is even in the starting line, so I wouldn’t worry too much about how
  7. Being that it’s a narrative film, can production budget a few hours so you could experiment with different mic placement? T If you have a horse/jockey at your disposal you could mount various mics, and not worry about if camera will see it. You could wire a Lectro PDR or equivalent small recorder and wire the bridle, trying different types of foam on the mic as well as shotgun with a zeppelin on frame of sulky.
  8. I agree with Derek. In the heat of confusion it can be stressful to “click” through the channels to find a clean frequency. But the advantages of vhf in a crowded spectrum, and a housing and electronics that can take a beating throughout the day, along with the price point per unit; offsets the minor inconvenience it takes to grab a clean freq and get on with the day. Just my .02.
  9. I noticed that too. Sounded to me like it was ADR on a sound stage. Good film.
  10. I’ve been working for CBS and NBC news divisions recently. Protocol for both are crew has to wear masks, all shoots outdoors unless cleared by Operations Mgt. Booms preferred but if lav necessary must sanitize it and transmitter. I’ve been wiping them down with Lysol wipes and spraying the bag etc, with alcohol. It might not be the manufacturer preferred way, but that’s what I’m doing.
  11. I’ve used mine recently for a basketball game doc. They are much easier to attach to the bag than the SNA. The provided hardware is a nice accessory and the cables have a good build quality to them. Performance wise they seem to be a little better at reception than the SNA. I also like the one piece design, I am forever losing the little adjuster screws for the various block settings for the SNA. The Betsos seem to stick out of the bag a little farther, so you have to pay a little more attention when walking through a crowded area. I think they are worth the money.
  12. Just sent mine in this week to Redding to go to Germany for same issue. Seems to creep up with it every couple of years or so. I am very careful with the environments I use it in, always have a softy over it , never use it if the forecast calls for rain and I know I’ll be out in it. Sometimes sounds like it’s “auto gaining” the noise floor or produces a hiss. Yeah, sometimes the pole falls down if I’m not conscientious where I place it, but that’s the real world of ENG/Doc productions. I always get the same response from Schoeps “unable to replicate problem, cleaned, tuned,,180.00. It
  13. I work a fair amount of network news and usually if they are shooting 720/60 they are running 29.97 drop, or if they are trying for a “filmic” look they shoot 30 drop. If it’s non broadcast production, try the non drop rates.
  14. I’d be very suspicious, a month after the job and he’s blaming you???WTF, over? Has he used since your job?
  15. 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.
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