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Everything posted by thelza30

  1. Worm on! Sent from my iPhone using Tapatalk
  2. 32GB seems kinda small. I use the SD card in my 688 as sort of an internal drive and I keep a 128GB card in there. It rarely ever comes out until I need to dump it. I use 16 GB CF cards for handing off to loader/media manager. It's a nice thought to get in the media game but I find those sizes not as useful. Sent from my iPhone using Tapatalk
  3. Hey Chad, Galveston probably doesn't have any local mixers as Houston probably has the most work. Peruse the Texas Film Commission web site: https://tx.reel-scout.com/crew_login.aspx and call some local Houston mixers. They have some really experienced crew there. Good luck. Sent from my iPhone using Tapatalk
  4. Just wanted to resurrect this thread and see if Filemaker Pro is still the best way or are you guys and gals using a different app? I am wanting to get labels with my name and company name, contact info, and a QR bar code for reference in a database on my pricier gear, Thanks in advance! Ben
  5. It's my way of telling my department I'm rolling and for everyone who needs to coordinate scene and take info we are all on the same page. I do the two beeps to tell my department I've cut. Sent from my iPhone using Tapatalk
  6. Sometimes Tapatalk works and sometimes it doesn't. Only until this evening the timeline was updating correctly. Otherwise it was only the trending topics. The updates seem to only make things worse. I'm on a iPhone 6plus. I've been listening to flying lotus since his first EP but really took notice with his Los Angeles album. He's an extremely talented artist and musician who's really starting to break into the main stream with Kendrick . I have not been able to see his live shows as I detest crowds, even though I live in the 'Live Music Capitol of the World.' What distinguishes Steve Ellison is his taste in collaborators. Kamasi Wahington's The Epic is amazing, Thundercat has had some Great records, and of course Kendrick's new album is a classic. Basically all of those guys are pretty top notch so must be a great environment for creativity and they are really in their element right now. Very cool as a music fan to enjoy. Sent from my iPhone using Tapatalk
  7. Huge fan of Fly Lo and the whole Brainfeeder label. Your son must be really great at what he does. Must run in the family. Very cool. Sent from my iPhone using Tapatalk
  8. Make an app I'll probably buy it. And buy your camera op a shot of their favorite whiskey and make friends with them. They'll help you out. Sent from my iPhone using Tapatalk
  9. I agree Lorenzo. The ironic thing about my shoot was even though we got the booms close, the DP insisted on using the practical chandelier above the actors. We didn't have shadow problems but it was on a cheap dimmer and was giving me a ton of Buzz. One problem solved, creating a new one. Sent from my iPhone using Tapatalk
  10. I'm on a pilot for HBO where my post-producer has given their blessing over painting out booms. She told me while on the tech scout that it's a thirty minute fix with VFX and they typically have it budgeted to fix that sort of stuff, along with the grip, lighting, and camera gack that unfortunately find their ways into shots on a fast paced show. We are on day 6 of 8 and I finally had to cash that chip over a shot that required the boom to be seen in a mirror's reflection. I went to the DP, who is aware of what HOC has accomplished, and he had no problem with it. He just asked me to run it by our producer who also gave it her blessing. We got a couple seconds of "plate" without the boom and once that was done put it in place and got nice clean sound. I think more and more people in episodic are hip to what is available in post and want to move in this direction. The hardest part was to get everyone on the same page because the camera operators were still hollering about seeing the boom. A protocol has to be established on how to do this and I think that's still being worked out. Post producers don't want to do ADR because sound got 'wide tighted' out of shots, directors want their show to sound the best they can, and producers don't want it costing extra money. This can be common place if there's a budget for it and done intelligently and it helps that we as sound mixers are aware of what is achievable and keep asking for it from our DPs, directors, and producers. Sent from my iPhone using Tapatalk
  11. Seems to happen to my slates all the time. Perhaps it says something about the ACs I work with or maybe it's because I only buy used slates... Sometimes a little gaff tape where the sensor is can be a temporary fix but unfortunately it should be sent back to Denecke for a more permanent fix. Ben
  12. I think the ramp ups should be done to a FPS that's is a multiple of 24. So 48, 96, etc. Sticks is all you can get. I believe they will do a thing called a double print sometimes, so they will do a version at 24 and a version at 48 for dailies, and let post sort out the details.
  13. I may mention that at this moment my boom op is standing outside in 28 degree temperatures booming mostly Stunt SFX stuff that 2nd unit should be shooting freezing his butt off. As an ex boom man myself I appreciate my crew and the professionalism they bring to set every day. It's a team effort and you gotta be on the same page.
  14. PLO, I know what it's like to be working in the low budget world but you seem to have a way to go to get yourself out of it. You have an incorrect view of the job of the boom op and perhaps the mixers you are working for are somewhat at fault for not teaching you the right way. My boom op does so much more than just hold a mic in front of actor's flapping lips. He keeps track of the slate and makes sure the camera assistants are on the same page. He's on the 2nd 2nd's ass if they have a sloppy lockup or are setting background that are needlessly making noise. He finds noisemakers during rehearsal and works with locations to get them off. I can go on But all of this stuff you need to learn by working and being with experienced folks. Stop calling a boom op an assistant. You sound like a complete novice. Just some thoughts. Ben
  15. Get them all. The only one I use infrequently is the neoprene and it's the cheapest.
  16. Hey Tyler, I think it's great that your are getting this mixer together next week. I start back up on my show Tuesday so I think it will be too much driving to make it up to Dallas. Will have to talk to you about doing one in Austin sometime. Have fun everybody and happy 2014. Ben Lazard
  17. I asked my SFX department what they use to deaden their flame bars. Sometimes using a thicker gauge flame bar helps. We had one where they used a thin (1/4"?) copper bar and it was so noisy it was unusable for sound. We had them wrap it in pantherfelt which is a material they use for handheld flaming torches. It is fire retardant and The hissing went away. They usually use thicker gauge copper.
  18. I use my X1 output for my Lectro IFB send and my X2 output for Comteck send. Right now the only way to control the X Levels is either with faders/gain if I have it set post/pre fader. I could also change the gain on the IFB/Com transmitter but I think that misses the point of what you want to do. I know the 442 has the master level output fader but I don't think 664 has this option. Philip, out of curiosity why do you want to be able to change the Output levels of the X tracks? Safety Tracks?
  19. Cup in bungee trick? We call them bismarks here in Austin. Look it up in urban dictionary but probably the way a way worn sound mixer felt after listening to flapping gels all day.
  20. Hi Francois, We filmed many bands, here are the ones I remember off the top of my head: Joseph Arthur, Jonah and the Whale, Stars like Fleas, Why, the Rodeo, Los Campesinos, Akron/Family, Radar Bros. Probably 3 - 5 more bands whose names I can't remember. We went all around Austin filming these guys in the back of my friends big orange pickup truck. I think each band did 3 songs and 1 was always centered around the truck. Ben
  21. I did a series of Take Away Shows for South by Southwest in 2008. Working with Vincent Moon was probably the most fun and creative experience a sound guy could have. We filmed about 10 or 12 bands of the course of 3 days. The shows were made for Crackle.com and seem to have been taken down. If anyone can find these shows on the web, they are a lot of fun to watch and they sound pretty good too. Back in '08 the 788 had just been released and the entire time I was wishing I had one. I just remember somehow putting an Edirol R4, 744T, 8 411s, and a boom into my Petrol Organizer. It was a true back breaker. Ben
  22. Mark has been doing an amazing job on my show The Lying Game. I've had to record in some pretty hostile locations and he's turned some of my garbage into gold. Always sounds great. Ben Lazard
  23. I switched to the black magic smart view duo. So far very happy. I have to be 100' from video village which is a downside, but the upside is you are the best friend to the hair, makeup, and wardrobe departments who all seem to hang around my cart after making the switch. I also noticed the gaffer and DP have been merciless on me over boom shadows since since they are so much easier to see on my monitors. If only they'd stop using those damn back lights. Couldn't get it to work with my ETS passive balun system and AJA down converters. I think the balun didn't like the Sdi signal, if it was down converted. I now ask the camera department to wrangle some more BnC from their rental house when ordering the package. It's not bulletproof, but at least it's theirs and not mine. Keep us posted if you find a good HD passive balun.
  24. Hasn't happened to my other SMQs or SMVs, just the one SMQ thank goodness. Will be calling Lectro about it in the morning but I wish I had another recorded track to send them as evidence. I use Sanken lavs wired universally usually at a gain from 14-20 on the SMQ. I've heard the clicking on my venue and UCR411a. I only use lithium AA energizer batteries in the Tx. Ben
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