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soundpod

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Everything posted by soundpod

  1. Looks interesting, I've wondered myself if anyone did this, but never seen it before. I think the trick would be to only use it when required. And not use it most of the time. To me its kind of like focus off a monitor, which always seems to be reacting after the move from a delayed feed. While watching the action feels better and I can get in sync with the actors. Kind of like a dance. It always feels great when everything is flowing, the actors have the dialogue down and a nice rhythm is happening in the scene, then I can hook into that and boom it with a nice flow. IMHO a monitor would put a wierd interface into the job and when in coverage probably not needed. But there would definitely be times when a personal feed would be useful.
  2. There's a medical product called skin prep that creates a barrier on the skin that the tape will stick to. http://www.smith-nephew.com/professional/products/all-products/skin-prep/
  3. Just what I found as well. Very dangerous to start, kinda like a drug, watch out or you'll be hooked.
  4. Yes there are many facets to this conversation, and at the end of the day, as a boom op, the mixer is my boss and its my job to work in a way that satisfys their requirements. If he/she want to run a cabled boom, fine no problems there, I understand the reasons behind that, and it's not my decision to make. And it's good to have wireless standing by if required.
  5. I just wanted to expand on this conversation. Sometimes the mixer is not the most experienced person on the sound crew. And under these circumstances I think it is the booms job to let them know if they are going into a job without the appropriate gear. I've seen this happen where mixers are hired from alternate markets, ie from doco/reality world and their kit is shaped for that work. While drama work requires a slightly different mix of gear. Therefore if I see someone come onto a job missing a piece of gear I think is essential, (such as a wireless boom rig) it does us both a favour to mention that. As an example, I was working on a very large production with a war theme. Huge battlefield sets, and huge pyro setups. One day they bought in a splinter crew to shoot some battlefield shots. Hand held POV running through explosions. The mixer they bought in had 20 odd years experience on reality TV jobs. But no wireless boom. And I watched from up on the hill as his boom op got to the end of the string and had to watch the camera run away from him with explosions going off all around. It was unfortunate to watch, and I don't think there was any chance to save that situations, but if there ever is an opportunity to save a similar situation occurring, anyone should feel free to speak up. The sound dept is a team and teams work best when everyone can use their experience and are free to give input. IMHO Cheers, NIck
  6. I once had a job that i only took under the condition that the mixer bought a wireless boom. Which he did, and given the shooting style and pace, I'd say it was mandatory and allowed me to do my job. I'd worked on the show previously and knew what to expect.
  7. Lloyd Carrick recorded Mad Max 2, a true gentleman. He gave me my start in the industry and trained me up on my first few jobs. When I started it was recording onto 2 track Dat, using radio mics only when needed. I'm pretty sure he didn't have radio's in 1980.
  8. Sorry off topic, but.. George Flores, is that threaded ball you have for antennas commercially available, or a custom job. Looks perfect for an antenna mast I want to build. Thanks, Nick
  9. Hi Rado What was the initial repair for? Was it repaired in Germany? Sorry to hear about your bad experience with this mic.
  10. I'd be interested as well, I just sent mine off and its getting sent to Germany. I'm astounded they are still selling these faulty mics.
  11. Look up Teradek, I've seen it on a couple of shoots. The more people log onto the picture, it starts to struggle.
  12. I love vids like that, check these out. and another one by the same band, just as ambitious and impressive....
  13. remember to factor in how long the scene goes. They seem to get heavier in an exponential proportion to time.
  14. Mostly get called at crew call, sometimes even a pre (on drama) On commercials, there has been a few times getting a late call and all too frequently the production then rings asking if i could get there as quick as possible because things have changed..... Late calls can often mean a rushed setup.
  15. I was just working on a commercial where they had three 35mm film cameras, shooting kodak stock. These were the cameras http://microsites.lomography.com/lomokino/
  16. As a boom op I prefer to hear just the mic, but sometimes its good to hear the mix, so choice is great. I generally have an R1a (depends on the mixer) and my preferred setup is two transmitters, a private line that I have the boom on, and also a simple push on the R1a button and i can switch to the mix that everyone else is hearing. (Don't forget that feature of the R1a"s
  17. Thanks Larry and John, The black art of RF, all very interesting stuff. I think I'll make up a bracket so I can rotate the receiver antenna for the occasions when the transmitter is horizontal (car travelling the transmitter offer ends up tucked in the visor) cheers, nick
  18. Thanks for the comments guys, I haven't seen Helicals on set, but can see that a circular polarised antenna would be good, I actually use them for another application as video send and receiver antennas. "It all depends"... thats true, maybe a direct question if i may. Do you have a diversity receiver with two sharkfins? (Very common here) If so, do you have them both mounted vertically? (Again very common setup that i have seen) Would you consider mounting one horizontally? If not, why? The way i am looking at it, one vertical and one horizontal will make a better use of the diversity feature.
  19. Hey... I've been thinking that in a diversity setup for radio mic receivers, using the sharkfin style antennas, maybe having one vertical and one horizontal would make better use of the diversity feature. But most people seem to have 2 in vertical polarisation pointing in the same general direction, therefore only the distance between the two is giving any advantage for the diversity. I have seen the occasional photo with one vertical, one horizontal, but very rarely. I will try a test in the next week if i get the opportunity, but i would be interested in hearing peoples comments. Cheers, Nick
  20. I'm interested to hear of the results. The Tenergy are Lithium Ion and the Ipower are Lithium Polymer.
  21. From my experience, deferred payment will never amount to being payed, therefore should be considered a freebee. I had one deferred payment job call back a couple of years later wanting to buy me out of the contract for $50. They had managed to get the interest of distributers, but the distribution company would not take on a film in debt, Therefore the producers had to get every single person to agree on the $50, and sign a new contract in order to get the distribution deal. I never heard if they got the deal in the end. Has anyone ever been payed in full for a deferred payment job? From what i've seen its fundamentally flawed in respects to creating debt that may not be easy to get out of.
  22. Boom rental can be a way to negotiate a better rate, i bring it up in the rate negotiation, and I think production managers like it because it's not "on the clock" so I always prefer a higher rate than a boom rental, but if need be it's good to get. I also think it gives them more options in where they get the money from in the budget and quite often the rate can be stuck at a level relative to other positions, so the rental is free of those constraints. I've heard quite a few times in negotiation "I can't pay you any more because then you'd be getting more than ......" therefore rental is the option. Edit: Always get it in a deal memo
  23. soundpod

    Boom Inquiry

    I'd be thinking about not beating your body up now, then you won't be older and broken.. But if your not saving any weight by buying a new pole, then what are you achieving? Maybe there are other ways to help, ie different technique, i can't tell you how many times i've seen people make it difficult on themselves, when a slightly longer pole and better posture would make a world of difference. I'm always reminding myself about posture. nick g
  24. just had an idea.. the centre handle piece is removable, so maybe i'll make up a new one with a seat attachment. I'm thinking about fully reclinable with adjustable footrest. I might have to ditch the pole holders to make it work, but at least i'll be comfortable. The only problem is i'd need to find some time to sit down... nick g
  25. lol... never tried sitting on it, don't think i will try that either... it is a bit heavy, but for me that is a plus, it beats carrying a shot bag around to stop it from toppling over. (which i had to do with an aluminium one i used when i was the 2nd) Especially on rough ground with two poles and a bit of wind, just like today. No chance of a tipover.
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