Mick

All valid points and I respect them, but on this particular show it works and works well. The actors are all experienced and well known for the most part, so the thespians are all good with it because it creates its own kind of energy. It's all well and good for us non actors to opine on the effect it has on story telling et all, but folks, The Times They Are A Changin' and I personally like the way it's goin' And like Crew says, Art and crap pay the same.

Another aspect of current shooting protocol is the lack of rehearsal, the prospect of which at first didn't thrill me at all. Having cut my teeth in the film world like so many of us I was initially appalled when the first scene was blocked by second team and then we were informed by the AD's that there would be no rehearsal. But as the day went on I found the concept both challenging and exciting, instilling in me a sense of anticipation when I had six wires, multiple crosses, overlaps and of course the ubiquitous simultaneous wide and tight shots. It was fun! I now am sitting comfortably in the certainty that no rehearsal is a good thing for directors, in this genre anyway, because it has its own peculiar energy that elevates it above the standard one camera talking head norm that has permeated the TV biz for quite a while. I'm seeing more and more that this wild and sometimes chaotic approach to episodic TV is now replacing the established paradigm and making the job way more absorbing. My job anyway. Just a thought Mick

Thanks guys, feels good to be back

After a three year semi retirement/hiatus/part time freelance situation I'm back mixing a series for NBC/ITV. I cannot believe how much has changed in TV since I left CSI. The whole directing style, camera use and production expectations of the sound crew has been quite the education for me and I gotta give props to my crew, Kevin Santy and Anna Mayer ( Charlie Wilborn's daughter) for bringing me up to date and getting my head out of the film sand and into the digital media stratosphere. They have enlightened me and expanded my understanding of the "new" approach to sound mixing, but thankfully the "old' way of using your ears and mixing sound to picture hasn't changed. I'm thankful to be doing what I love and playing music at lunch times (which I love more!) and working with a production team that is really pleasant and crew oriented. This sounds like an acceptance speech so I'll quit while I'm ahead. I'm also glad to see some familiar names still hanging out here too. Mick

Anyone have any suggestions on the best way to mount a laptop (no puns please) to a psc style sound cart? THanks Mick

Two 55 amp/hour boat batteries in a custom box powering two psc power max distro units. Goes for days!!

Jon G, which model specifically are you referring to?

Thanks for the input guys, sorry about the typo, black magic of course...

Is anyone using these monitors and has an opinion? Thanks Mick http://www.blackmagicdesign.com/products/smartview

Well, the best to you and your family Robert and keep us posted on what's going on over there!

Robert, THis is confusing....where is the post that initiates the move? I'm jealous that you're going to my country of origin, (US is now home) but are you going for a specific job(s) or just for the move of it. Either way good luck!! Mick

I'm looking for suggestions for a good inverter that will safely power a mackie 1620i. It's rated at 40watts consumption. Thanks Mick

NIce one Peter, I'll be right behind you! MIck Fowler

I've used the direct outs on twomovies and as Robert says they work just fine and have never budged even during some rough location moves. Use as directed.

Anyone know if Steve uses an inverter or a DC conversion?(

Has anyone looked at the Mackie Onyx? I seem to remember Coffey/Trew doing an AC/DC conversion a while ago. It looks pretty flexible and I happen to be a fan of Mackie mixers. Any practical experience anyone? And by the way thanks for all the helpful input. Mick

I'm in the market for a new mixer having sold my Cooper and I'm curious about what working sound mixers are using these days. I've looked at the Yamaha and would like to see if there are options out there that I haven't considered. Any input would be appreciated. Mick

I need a boom operator to work a low budget movie with me in Idyllwild CA Dec 3 through Dec 19. email me direct at mickfowlerproductions@gmail.com for details. THanks Mick

I endorse mirror's opinion to a certain extent in that while making great strides in advancing the technology of digital sound recording Glen has abandoned the attention necessary to upgrade some of his earlier successes like the Deva V. I've never been a fan of Zaxcom wireless, but that's a combination of brand loyalty to Lectrosonics and the admiration I have for their customer service and how generous they are with their loan outs to me and guys like me that teach occasionally. I'm looking at getting an SD 788 because of several reasons that have already been stated here in numerous forum sections and posts and don't need repetition. Taste and preference is individual and although Zaxcom make fine products and I've used one for many years I'm switching too, but for slightly different reasons. I like Glen and his crew have always been very helpful but they lag a little behind more established manufacturers in customer service in my opinion. I've never dealt with Sound Devices but I hear good things. We'll see. Mirror's issue with the SD menu is a non issue for me as I find it easy to navigate through it once you memorize the appropriate number of the menu choice being sought. All things being equal It's a great time to be a mixer with all the great tools available to us and the choices we have in so many equipment types. Too bad that so much work is leaving L.A. for other tax friendly destinations, but if you live in one of those other tax friendly destinations then you're in great shape, but that's another story...... Mick

The reason some editors like a scratch track is so that if time code drifts, like it nearly always does on a Red more than the Alexa, then they can use pluralize to sync it. (I've never seen this particular software so i hope I spelled it correctly) Comtek hop to the Alexa worked fine for me you just have to have their particular brand of split XLR breakout cable.

I/We solved the problem quite easily despite all the posts about how erratic the process could be. 'A' camera had the additional "box' with xlr inputs so that was easy, we just switched the input level from mic to line and velcro'd a Comtek to it and Bob's your uncle. B camera was just a basic body with a mic input which took an 1/8" plug at mic level only ( it doesn't switch to line). We padded the mono 1/8" to 1/8" cable by 20 db and Fanny's your aunt. What we did have trouble with was extracting the bnc to hirose cable from the lockit box to the camera. Once that bugger is in it's so hard to remove. Other than that all is going well so far, notwithstanding the unpredictability of the weather on Lake Michigan.

I've been a Lectrosonics user throughout my career and will continue that way. I was just curious as to whether anyone had any time in on the Octopack and how it measures up to the Venue system. Thank for any useful advice Mick

There's a worse one. Top of Mount Wilson. Wireless Hades. There are more antennas than trees up there and every conceivable frequency. Had to stand next to the actors with a remote antenna and even then it was hit and miss, so to speak.

What a tragic end to Cory Monteith's promising career. He joins a long list of TV, movie and Rock n Roll celebrities that have succumbed to the lure of drugs and alcohol. I feel for his family and friends and hope (vainly in retrospect) that there's a life's (or death's) lesson here for anyone caught up in the quicksand of artificial stimulants. Along with so many talented entertainers he will be missed way way too soon.

I need a boom operator for a low budget film in Milwaukee shooting from July 29th until August 23rd. I don't have the salary numbers yet, I'll post when I get them. Local hire. THanks Mick mickfowlerproduction@gmail.com