syncsound

Yup. Battles must be chosen. At the end of the day, we serve our clients, and if the client is happy, then mission accomplished. This is something I struggle with often; on bigger, busier sets audio quality will take a back seat to picture, and "good enough" has become the norm. It took me a while to realign my own standards. We always care, we always want more, but sometimes it isn't practical in the bigger scheme of things. But, they keep calling me back, so I must be pressing the right button and the right time.

The last version sounds very useful, Larry. We appreciate you weighing in.

This right here. One actor plus 2-3 post people vs. a forty-fifty person crew. Additionally, the post budget and production budget are separate, so when you punt and have to loop something, you can still make your production budget while the additional cost only shows up on the post budget.

Thanks, Mark. Yeah, I think end user flexibility is usually a good thing, so long as it doesn't increase complexity unnecessarily.

Johnny, no I didn't test that far. I think it's safe to say the LT at 100 mw would last about the same as an SMQV. As for the LR, couldn't say.

As in, can the receiver be safely plugged into an input with phantom power active? I don't know myself, but I believe that the folks from Lectrosonics could answer that.

Please to enjoy: http://goo.gl/mnOKR8

My setup exactly. Works like a charm.

The easiest solution is to have everyone in proximity to the mic turn their phones off or set them to airplane mode. Simply setting the ringer to silent won't stop the phone's radios from pinging the tower, which is likely what you're hearing.

Here's my rate card. My market is the Pacific Northwest: https://drive.google.com/file/d/0B4YnFWCYisiGZmpMMW1hckVyVjQ/view

Davinci Resolve Lite, which is free and cross-platform, can also batch-sync dailies from LITC on an audio track. I've tested this myself. Once the day's files are synced, they can be imported into any other NLE.

I did some shorts OMB starting out, but later stopped, because I feel like it sets a bad precedent. My post sums it up thusly: http://www.syncsoundcinema.com/2013/06/han-duo.html

http://gizmodo.com/scientists-make-the-worlds-smallest-microphone-from-a-1641728652

I have specific language about this on my rate card: "As a matter of policy, if the camera body itself does not offer full size XLR inputs, then I will not do single system mixing. " This guards against being presented an adapter box (juiced link, etc) for a DSLR or being expected to mix to a RED. "If I press the 'record' button, whether as primary, backup, or transcription, in addition to sending a mix to camera, this configuration will be, at minimum, charged as Package B." (Package B is the basic double system package) And this prevents any kind of tedious discussion about doing single system with hops and being expected to roll a backup without being paid for it. They don't pay, I don't roll. Since I began presenting it like this, I've had zero pushback about it. But above all, the most helpful thing for me has been to request a set of specs from post on every new project. They list, in writing, all of their tech preferences, and I can negotiate the appropriate kit to match. No emails after the fact about sync issues.

I use the Ktek K-TA adapter, which is an offset XLR, a the bottom of the boom pole, and it works like a charm. Here's a review from Chris Durfy: http://blog.chrisdurfy.com/?p=320

Another issue to consider is the budgetary impact. Sometimes they won't wait on that plan/train/automobile, because they have to make their day to stay under the production budget, with the assumption that it will be fixed in post. We know that this cost isn't being eliminated, merely transferred from the production budget to the post budget. If post can communicate the real cost impacts of poor quality production sound, then you may have a better chance at effecting change.

Bingo. I have to say no sometimes, but whenever I do show up on set, it's with my gear that I've prepped myself.

In the interest of sharing, here's my rate card. I'm based out of Portland, Oregon. I have 3 gear packages, and any a la cart items are listed after. I have a potential client agree to a package and the rest of the terms on the card in writing, and away we go. Since the most common additional items are listed already, there's no surprises at invoice time. https://drive.google.com/file/d/0B4YnFWCYisiGZHlOZlc4dmZaXzQ/edit?usp=sharing

No, not impossible. Since I use a 216 belt pack Comtek TX, I just switch it off if I need to have a totally private conversation with my boom op, otherwise, I just keep faders down until we roll.

Yeah, but we're not responsible for other people's behavior. If they say something stupid on set, there's always a chance that someone will hear it, whether they're potted down or not, due to the fact that they're on set when they say it.

My rate card explicitly states that breaks are included in my 10 hour day, 1.5x from 10-12 and 2x after 12.

Tough crowd!

I'd thought they'd stopped making these all together. Recently seen at Sally Beauty Supply.

If circumstances allow, is it possible to run BNC out from video village to your monitors? Most pro video monitors offer a switched SDI output.