Wyatt Tuzo

Generally, on any show these days which isn't a major movie, I negotiate a weekly (based on $/day x5) but production pro-rates down for partial weeks. I'm not sure if that is what you're asking though. Movies pay they full week for partials

I’m well aware... if you read the rest of my post, I mention making changes remotely. Gordon had requested features one may wish for in a future hardware release,m. My statement you have quoted is based on the fact that, to change frequency or gain on the wideband transmitters (the two most frequently altered settings) one must scroll through a menu (unlike the original SM’s). I preferred being able to change these settings through easy key sequences. I felt the original design was quite elegant.

The only things I would re-consider over the SMWB's, would be to eliminate the need to menu dive for Freq and Gain, and to overcome what I perceive as diminished range vs. single block transmitters. Personally, I'm only interested in single battery SM style units. I suppose a nice OLED display would be welcome. Additionally, changing everything over to lemo would allow me to ditch the adaptors for my SSM style packs. The ability to control the transmitters remotely over RF would be great as well!

Same report on my job. 2 frames out at completely random times. We’ve also been losing a lot of clips inexplicably. We had an instance today where the camera indicated it was recording, but the clip wasn’t present upon gate check. We’ve swapped bodies three times, and have had a Sony rep to set to look into the issues. ...still so solutions. Seems obvious to me that this cam isn’t ready for prime-time yet

To me, a dry stand-up act feels un-natural. Here’s what I’ve had success with in the past: Dynamic hand-held for the comic, multiple audience mics (some directional condensers on the floor, and some omni lavs suspended from catwalks *fairly camera safe) panned and bussed to a stereo group. Apply some side-chain compression to that audience group, with the comic mic as the key input. This will compress the audience laughter a bit when the comic starts speaking again, but allows for everything to play naturally. I personally want some of the FOH blended into the hand-held all the time... it sounds right to my brain.

FFS, just buy an Re20 or two and be done with it. If you don't want to buy, find a way to rent. Dynamic is going to give you far better isolation than a condenser. May be cumbersome, but you'll have to make the convenience vs. quality trade-off consideration for yourself. Don't buy and return... that's childish.

Maybe I've been fortunate... maybe it's just the work I get, but I've literally only had this requested of me once (and I told them that maybe I wasn't the right person for their job). In terms of beating w&t's I wonder whether its a self fulfilling prophecy, born of asserting our expectations early on... or if it's just dumb luck, but I've really only had one DP give me a headache about this. I feel like, in my experience, once people see that there is a reason behind what you're doing/asking, they are willing to work together toward the same end. After all... its a collaborative medium. Generally speaking, It's my approach to try to cover a scene with as few sources as I can get away with. A mentor once phrased it to me: "it's our goal to sell the illusion that the entire scene was recorded with a single microphone". While he was talking more specifically about the production mix (and keeping bg levels and tone consistent), It's something I always strive for (and It's my taste to arrive there through the booms, first and foremost)

In my world of narrative mixing, that is a pretty big reason. I mix mono, and strive for what (to me) sounds like a finished dialog mix. I will wire for characters or individual lines as needed, but the booms are primary 90% of the time. Another thing that I would have trouble listening for in a "split mix" is background consistency. Is this an issue for those of you working this way?

Have a look at the serial number band on the mic cable. If it's normal sensitivity, it will be silver and black, if it is reduced sensitivity, it will be red

If it were for me, I would also add front casters. How about the drawers opening not to the front or back, but to the side? This would allow for a flip-down shelf below the back handle which could be loaded with carpets (with the handle as an upper retainer). You could also move the cart with the drawers unlatched with little worry. The table top could be stowed on the "front" (opposite the handle and wheels) Now that i'm writing this, I realize that I may have just turned it into Greg Sextro's follow cart, which is a brilliant design

Looks to draw approx 1.35A with both monitors powered on

I use Ram mount hardware. Seriously durable.

One other potential pitfall I see with the increased resolution of these cameras, is the ability to reframe in post, without a downgrade in the deliverable resolution. I know it's happening already, but I wonder if we'll get to a point where it's more commonplace. It would be a shame to have to start wiring everyone, just in the event someone decides to reframe a master into a cowboy (or worse) in post. I don't know that it'll quite come to that... Just musing

There are a few points to "MixAhead" that I still don't quite understand. If the algorithm allows missed cues through to the mix track, would it, by the same course, cut fade-outs early? Additionally, at least in the narrative world, so much of what we do relies on fader balance and timing. I need to be able to crossfade from, say, a wire to the boom (or any ratio thereof) while listening for phase and balance. I see MixAhead as a potential detriment to this process. Personally, I don't really see much of a problem of missed cues in my world. Maybe in doc/reality? Maybe the occasional ad-lib...but I still feel the potential detriments that I mention above would outweigh the occasional benefit, as post still has an Iso they can salvage a line from.

That's all fine and good, but I'm just curious as to why you felt a need to start this topic. To me, your post seems to be dripping with subtext. Maybe I'm reading into it more than I should.

I don't know how I would compare them to 7506's, but I recently had to replace my earbuds and ended up getting Westone W-30's. I'm quite happy with them so far. They may not have as much of a smile curve as the 7506's though, if that is what you're used to. I was looking for something to replace my etymotic er4p's, but with more bottom, and these fit the bill nicely. They are the first in-ears that Ive found that come close to living up to the detail of the Ety's, but again, have better low representation. Westone has the W line (which I think is more tuned for music listening), and the UM line (which I suspect is flatter, and more tuned as a stage monitor). Both have their fans for all applications. All I can say is that I'm happy with mine.

For very short runs (on the cart or in the bag), I'm generally happy with rg174... It's somewhat lossy, but I find it negligible at these lengths. Can't get any more flexible.

My only issue, personally, with the mobile browsing, is that my "unread" messages default me to the head of the topic (meaning I have to scroll through every message in the thread before I get to my most recent unread)

Use fewer mics? Really. You say this scene is scripted. You have two boom ops. They should be able to follow a bulk of the dialog. I suppose I just don't understand the need to wire everyone. You may need one or two wires for a tough swig or reflection issue, but aside from that, two competent boom ops should be able to cover you

I figured that was the scene you were referring to, but wasn't aware that episode had aired yet. Unfortunately for us, it was a sensitive practical location. Our steadi Op was working very hard to help us with the situation. Shoes were removed, floors were covered (yes, the odd case of carpets being allowed!),etc. Dance floor would have worked nicely, but we are a no dolly show. We lobbied for (and got) static shots, as well as plenty of room-tone... I haven't seen the episode yet, but unfortunately, it doesn't sound like they were put to use in this case. Thanks for the kind words. It's a very unique and rewarding show to be a part of... despite the occasional need for compromise.

We had a few difficult scenes this season that were compounded by the addition of Steadicam. I'm not sure which episode you're referring to, but there were two in scenes in particular that I remember giving me a few new grey hairs. I should shed a bit of light on how we handle things on Louie. He is a really thoughtful guy, with a very clear aesthetic. That said, we sometimes have to find a happy medium between what he wants, and what will work for air. At the end of the day, the show bears his name (and he has more awards than I do). Honestly, It's a really fun exercise that I assume will make us stronger in the long run. We genuinely have to re-think what would be the common approach every day. This past season was my first with the show. It definitely took an episode or two to find my footing. For the most part, we "block shoot" the entire season. That is to say, we do not shoot individual episodes out, in sequence. While this is the case, we definitely finished and delivered the first episodes for the season while we were still in production (everything moves very quickly). There are a few aesthetic choices that Louis is fairly firm on... The biggest of which: He doesn't like the sound of body mics. In addition... No carpets, almost exclusive use of practical bulbs, no marks or blocking rehearsals, and mostly handheld camera work. As Louis is the director, lead, and editor, he choses the performances he likes first and foremost. My Boom Ops this past season (Chris Fondulas [and Bret Scheinfeld for ep501]) are saints. If you can explain the particular scene, I'd be happy to try to recall our production day.

While you have some valid points, this is, at times, far from the reality of how the set runs. Relationships with other departments MUST be nurtured. It's a give and take. It's also the boom op who is working the floor with the operators/dolly/etc. It's often the case that the Mixer is not even aware of certain obstacles that the boom is forced to work around. It is, at these times, the duty of the boom op to let the mixer know why they may not be able to dig out a certain line, or whathaveyou. It's not fair to assume that a question like this is meant to undermine the Mixers position. There has to be mutual respect for the department to work in a heathy and productive manner. While the final decision should come down to the mixer, I don't believe in this subservience/pecking order BS. It's my view that we work as a team to achieve the best sound possible, given the circumstances we're presented. Each member of the team has their own roll, each as important as the next in creating the whole.

Like!!!! I'm taking the 63 Vespa vnb that I'm restoring to the blaster this sat. Super excited! I'm sure you're glowing right about now!

I just finished a job feeding scratch to red dragons. Bongo'd a standard pr216 to the cam and fed the cam through a standard 3.5mm cable. Output in the receiver was set quite low, but it was clear. Definitely worked as a scratch track.

I'm sure there will be a solution, but it's worth considering that the usbc doubles as the charging port.