berniebeaudry

Hi Sean, What John Blankenship said is spot on for the job. A parab wouldn't be a good choice. In addition to parab I've done a similar thing for the NFL Network. I used a Schoeps CMIT-5U. I know the NFL Films sound guy and he uses the same mic. You'll see him with his long pole getting players and coaches on the bench etc. For the press conference plan on a press feed to the camera on one channel getting the mic at the podium, and your mic up near the stage/podium to get the questions from the reporters. You'll have to really ride the gain because the reporters might be quite a distance from your mic. Or you might get lucky and you end up near the guy who asks the most questions. I think my Vikings are one of the teams going over. Do you know which team you're covering yet? Off topic: I worked the game against the Packers this Sunday but not as a parab op but field A2. I got to keep track of sideline reporter Erin Andrews for the game. The crew was the same one that was working the day I got trampled. So a fun reunion since its been almost a year since that happened. I was told the producer has a clip of the collision and still plays it before every game.

I'd at least try a directional lav. Not the big bulky ones that they use when a PA system is involved but one of the small ones. They're delivering directly to lens and its ok for the lav to be seen. If would be easiest/best on suits as you could put it on the tie and be assured its on pattern. Might be trickier with woman's wardrobe. Another thought is a dynamic mic on the boom. If you can get it in close enough and still be out of frame. You could put a Cloud lifter or similar booster on it to be sure you have enough gain.

Jeff, all the best for a quick recovery!

I used to make some straps long ago that weren't as nice as Neopax or Ursa but I did manage to sell quite a few of them. Competition and innovation often go hand in hand. Seeing ways existing products can be improved upon keeps things moving forward for all of us.

I had the great pleasure of working with Ed twice here in Minnesota. This was back when I was a very inexperienced A2. We had some wonderful conversations and I learned a great deal about how he approached mixing the big shows. I concur with Glen about his kind, helpful, mentoring nature, and would add he had a great sense of humor. I don't remember the jokes anymore, but he had some good ones!

I'm a user of RX6 Advanced and I take it upon myself to practice on and learn the software on terrible sounding tracks whenever I get the chance. Fortunately as a PSM these tracks aren't mine but downloads from Gear Sluts or other forums that deal with post. Its the "can anything be done to save this track" scenario. There's the old saying that states "you can't polish a turd". With RX6 and other post tools you actually can polish the turd to a point but it will never be what you could have if the track was recorded well in the first place. The ability to synthesize unrecoverable dialogue might change all that but in my opinion it would still be worth it to do the best you can on set. One of the first things I notice if I watch a low budget movie or any project that didn't get it right on set is noise reduction if its done poorly and/or overcooked. The tools are complex and may not work the way you think they do and its a process that works differently on every new track. Its also time consuming if you do it right.

Thank you! I bought the LTs and LRs when they first became available. The SRCs weren't even introduced until over a year or more later. I probably would have gone with them if they were available. I don't have too much trouble using the IR sync or using the menus. The SRs weren't available or even introduced when I bought these. I was a fairly early adaptor of the LT/LRs. I just wanted something new, smaller, and lighter for my bag. I had all 211s that I wanted to move while they still had good value.

Jim I'm so sorry you lost your best friend! Thanks so much for telling us what was going on behind the scenes.

tried again. Got some sound files that would play (maybe all of them) surrounded by digital hash. The files are a little fast when I play them in Audacity.

Anyone know of a way to import the disk that comes up as unreadable into Audacity? I can see it in Disk Utility.

Well Audacity didn't do it. I could see the CF card in Disk Utility so I made a new disc image of it so I could import it into Audacity. The files that came up were digital hash. I might be doing it wrong.

Here's my bag set up. I've since gone from homemade coaxial dipoles for antennas to Lectro SNA dipoles. The antennas are going into a PSC Multi SMA and the low profile TA3s are from Audio Department.

I didn't Philip! I'm going to make sure all the files match up from using Zaxconvert (I had multiple projects that I hadn't back up yet) and then I'll try the Audacity procedure. I'll come back and let you know how it goes.

Sort of on the same topic. Yesterday my producer started copying my Nomad card to three hard drives via a program called Hedge. When the process started the card showed up as normal and started the copying process. After a few minutes the copying was aborted and after that the card was deemed unreadable by the computer. We tried other card readers and different computers, all with the same result. I had this happen one other time with Shot Put Pro. So the card was somehow corrupted so the computer couldn't read the card. Any ideas as to how this happens? I've already converted the files from the MARF card and sent them to him so nothing was lost except for time. Would like to avoid this in the future if possible. Our DP did a scan with a program called Rescue File Pro by Sandisk and the files were there, just couldn't be seen by the computers.

I have them clipped to a plastic rail that I attached to my Orca 32 with velcro and zip ties. They're oriented vertically so I have to tilt the bag to see the screens. I have the battery eliminators on them so I have no need to remove them for battery changes. There's lots of space between the receivers and the compartment the Nomad is in in so I can get my hands on the on/off switch and menus. Not ideal but I mostly just need to turn the power on the rxs so its workable. I'll post a photo later so you can see what I've done.

If it doesn't work out as a boom pole you could always use it as an antenna mast.

Good to know! Thanks for the response!

Very off topic and in the when you have time category. What do you think of the build and sound quality of that brand of wireless and are you using their stock lav? I have a simple audio only traveling show that I need to outfit and this gear is incredibly inexpensive. I could buy instead of rent at those prices.

Philip there is also the UR1 tx and UR5 receiver. http://cdn.shure.com/user_guide/upload/89/pdf_en_ur5_portable_wireless_receiver_ug.pdf http://www.shure.com/americas/products/wireless-systems/uhfr-systems/ur1-bodypack-transmitter $800 for the tx and $1200 for the rx. I demoed one of these sets a while back. They have very good range and sound pretty good. Although not as nice as Lectro to my ear.

Hi Mario, I keep each of my LTs in a corrugated plastic tube that I made by rolling a piece long enough to include the tx and the antenna. I just put a heavy duty elastic around it to close the tube. I put the tubes in an upright carry all that has a slot for each tx. You could do a similar thing and make the tubes long enough to take up the space in the Lectro pouch. The tube doesn't add much size to the width of the tx and you should still be able to fit three to a side. You could leave the antennas on without worrying about damaging them. That would save you some set up time.

I have four LT/LRs. I really like them! I usually run them at 50mw and don't have any range issues. I'm running through a PSC sm multi with two homemade coaxial dipoles that I clip to my harness. I love the infrared syncing and the menus are super easy to navigate. I went from four 211s to for LRs in my bag and saved a lot of weight!

I went from RX4 to RX5 to get the free upgrade to six. I've been playing with it a bit on some of my field recordings and it works pretty well. As with any of these types of tools, less is more. You can over do it and get a duller sound, or worse yet have artifacts that are noticeable. I always monitor with headphones (Sennheiser HD280s) to make sure I'm not doing too much. I tried dialogue isolate on a track that had some ticking air handling noise along with the usual fan noise. First I tried dialogue isolate and it brought down the fan noise really well, but the ticking was still audible but reduced somewhat. So then I used the new dialogue denoiser first and got most of the fan noise but the ticking remained. I followed with dialogue isolate and got the majority of the ticking noise out. Without the fan noise it became apparent that the female subject could use some de essing, so I put that in the chain. I started with a preset but found it too aggressive. With a little tweaking I was able to get it sounding natural. The last thing I put in line was the deverb which I've never been able to get to work well. My goal was to reduce the slight roominess I was hearing on the boom track. For once I was able to find a setting that worked pretty well.

Antenna contact with sweaty skin will give you range problemsl

Totally agree with all the points JB made! And indeed the best reason is the last one. I really enjoyed meeting everyone in person the two times I was able to attend. Wish I could go this year but its not to be.

Happy happy Birthday Jeff!