pvanstry

Great bag Soluson, but what is this little LCD in front of it? Wireless video feed? Thanks Pascal

Nice job!!

Been using db25 for a while now. Plastic lightweight version. No issues with them holding in place. I hardwire power straight into them ( no connectors from dc distro ) and jump that power from one to the other. Each have two XLR's on them. Make them myself. Easy as pea.

Allright, I can't post the pics but I was looking at the polar pattern on sanken website and here is what I am understanding. CS3e as a lot of rear rejection and a tight front pattern. CS2 as a normal rear love for a shotgun and a tighter ( yes that's what I am seing ) front pattern then a CS3e CSR2 combines the rea rejection of the CS3e and the tighter front pattern of the CS2 making it ( on paper ) the most rejecting mic of the 3. Am I in crack or what? Look at the response at 4,8 and 16k?

So better rear rejection then a CS3e, but what about side rejection and reach? That's were the cs3e is great. Is it comparable or is it a more conventional shotgun as far as side rejection and reach? I had a CS3e and it was really useful when I needed to isolate as much as possible from a noisy set and also great outdoors for wide shot. Is a CSR2 going to be the same plus the added rear rejection ( already great onthe cs3e )?

He guys, I met a really great guy at TIFF this year, he is a director from Australia ( native from Greece ) and wants to make a film here in Montreal. He has been trying to contact an actor in the past but with no success. The actor name is Elias Koteas. He is a Canadian born actor and he's UTA Union. I'm trying to give him a hand, any ideas on how to get in touch with him? Thanks Pascal

From Baby Panda to a shemale!!! Love it Mike ( seriously )!!

Not really, low budget is low budget period. But I do try to ask more for my rate as I am alone doing everything. On the other hand they usually say no but it is one more notch on the negotiation.

Did they upgrade firmware on the camera, overnight?

I agree with a lot of what is said here. BUT one cannot say that without having a look at the project and its needs, can dismiss it simply because they are asking for a one man sound crew. For instance, a film where you follow a single character, occasionally meeting one other, shot with a single cam, that in my book is totally feasible on your own. BUT walking around with an 18' pole and 6 wireless in a bag, is a totally different shoot and that, indeed, requires a two man crew. My two cents Pascal

There is a couple of things to know about your situation. 1- running two srb in the same block should be fine or should I say no more issues the. Running one and two 411's. It's all about how empty is that block in your market and how good do you coordinate your freq. 2- only real concern I have is your Zaxcom TX. These are notoriously known to spill RF all over the spectrum. So word of advice here, keep that TX as far away as you can from your receiver. I run two block 22, one block 24 SRB in my bag, with two SMV block 26 tx ne t to them with no problem at all, but when I tested the same setup, but replacing the SMV's with a Zax ( block 26 ), I had range issue with the SRB. Since there was no issue with the SMv and problems with the Zax, I can only conclude that even if the zax publicise a really tight freq Q factor, it is in reality spilling it's guts all over the place. Many people have good success by remoting the Zax Tx on the back of their belt. My two cents. Pascal

Great Job Pablo!!! Looks amazing!!!

Can I assume that a microphone will have a suspension module ( one for each ) and that I will be able to install it in a pianissimo but also on a basic boom pole mic holder for indoor use? Thanks

I wish it was that easy to deal with for me. When i am doing TV work ( Non-Fiction, Documentary, Reality and Magasine ), there is ABSOLUTLY not chance for a boom op there, at most, if the show is complicated with lots of wireless, i can get an A2, but wireless count has to be over 8+ for that. For Fiction work, i don't have a resume of 50 films so i can only comment on what i did so far. For big TV series, i can get a boom op, no question asked and if i make my case, a second Boom op if needed. For films, even if i don't agree with the practice, i am offered shows that will heavily question my need for a boom op, which usually end up being me making a case for a boom op on the most complicated days, which usually ends up being less then 20% of the shoot days. Here in Quebec, we are going thru a crisis in the industry, our prime minister ( our mini-me version of Bush Jr, so basically a serious morons!!! ), is cutting in all aspect of culture and since pretty much all funding for our industry is goverment funds, we are feeling the pinch like crazy!!! Thanks Pascal

For me, I see the trend ( in quebec at least ) toward one man band in Indie films. The last two projects I did, production directors asked me to go through the script and identify which days I would need a boom op. They made it clear that all days was not an option and that they would ask me for a reason why I would need one. I know, I can already hear all the answers, " don't do it, not worth your time", " everyday since you can't get a decent mix when booming", " to hard for one guy to do properly" etc... Well the reality is that, on such production were its mostly one or two persons at a time, reduced crews everywhere so scene changes take longer ( plenty of time for mixing people's up), and very little demands for other aspect of the work ( two IFB tops, no playback )... I still don't agree, two guys is much better, better reaction time, more ideas for a better sound, one mix the other booms, mixer can check for shadows/trim for boom etc... Unfortunatly it's all about money and they would rather stend it on the image ( not that they are not also cutting on the image side also... ). But not on the bigger budget stuff or TV series. My two cents from my side of the border. Pascal

788/Cl8, 3 Lectro SRB, two Lectro LMA ( with battery eliminator ), recording to an Average of 6 tracks, all on a IDX NP7LS. Starting at 16.0vdc and swapping when reaching 13vdc or less. Never lasted more then 2-2.5hrs. Never wanted to switch off in between takes since the 788 takes an eternity to power up. Same setup but replacing the 788/Cl8 with a 664, Brend averaging 4-5hrs on the same battery.

I had a 788/cl8 combo and loved it. Then came along the 664/cl6, and I swapped. Things I didn't like on the 788 that I like better on the 664: 1- POWER, the 788 is hungry. With the same amount of wireless and gear on the same np1, the 788 would do around 2hrs where the 664 does 4-5hrs. 2- MENU, the 664 is a clear winner on the menu organization. It is a big improvement over the 788. 3- HEAT, I used the ( almost ) burn myself on the 788 in bag mode, where the 664 remains cold. 4- ANALOG MIXER/LIMITERS, I like the sound of the 664 pres and mixer vs the 788. Big difference is the limiters. I always hated the 788, they sound like a bad plugin to me. Where the 664 sounds like the 302,442,552 limiters which I like better. In this case, the 633 is like the 788 and that's why I sold mine after a couple of months. 5- ERGONOMY, having everything on the top ( 664 ) is a plus. The two wheels on the either side of the 788 was always a pain in the bag. 6- METERS ALL IN ONE WINDOW, I hated not seing all tracks and mix on the meters of the 788 ( only 8 meters ). I know you can see all 12 on the display but they where delayed and looked too small ). Thing I miss on my 664 that I liked better on the 788. 1- INPUT DELAY, nice to adjust ( time align ) boom with wireless. 2- OUTPUT DELAY, nice to offset audio playback to video assist. But I send audio to video assist now and they playback what they recorded. 3- METER BRIGHTNESS, yep that is a big one. My two cents Pascal

Got my perk. 2 units. Will see if it happens.

looks familiar. Looks good.

Try swapping the rear lyre with the DPA special ( red ) super soft lyre.

Love the wheel in the back, where did you get these? What size are they? Thanks

I saw the Orca quick mount LR at Trew in Toronto. Love it so much, I bought 3 kit. Smallest I have seen and most likely the lightest. Great kit.

When Ron and I were going back and forth on the phone about the solice mini features, a lot of time was spent on line level, mic level and numbers of inputs. Obviously not one mixer can do everything and certainly not one can please everyone. The idea behind the decision was as follow, since the mixer was meant to be used with the 664 or nomad, units that have some mic pres and some line level inputs, the idea was to give a fader mixer for all your wireless and then two wired booms going back into line level input of the recorder. In that thinking, you still have a couple of mic preamps available ( not on fader of course ) on the recorder directly for the couple of times you might need more. Of course if someone as a need for a lot of mic pres most of the time, the solice mini might not be for him. But it needs to be noted that the line level input actually have some gain and willost likely accommodate a "not exactly line level" wireless receiver. My two cents.

Cool rig. What did you think of the solice mini?

Senator I disagree