Jump to content

edward chick

  • Content Count

  • Joined

  • Last visited

About edward chick

  • Rank
    Hero Member
  • Birthday 02/10/1967

Contact Methods

  • Website URL

Profile Information

  • 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.

Recent Profile Visitors

1,611 profile views
  1. 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.
  2. 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.
  3. Sounds like you had it in the "Unity" mode?
  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.
  5. 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.
  6. 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.
  7. 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:)
  8. 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. 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. 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. 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. 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. 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. 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.
  • Create New...