Phil Rosati

Hey, I saw this a while back on the Trew Audio page for the DSQD Receiver where it says: "A kit is also available to mount antenna inputs (BNC connectors) on the front panel." That would make this more viable for some in the bag configuration, right..? https://www.trewaudio.com/product/lectrosonics-dsqd/

No prob. They are thinner than the 1” 8020 stanchion mounts, so you need a flat piece of something to help them sit well against the 8020 profile you’re mounting to. The math/measurements works out with a 20” bike wheel and 6” caster (7.5” mounting height) to have a piece of 1050 profile (1/2” spacer) between the axle mount and the profile. hope they work for you!

I’ve been using linear motion rail guides from Amazon: uxcell 4pcs SK16 Aluminum Linear Motion Rail Clamping Guide Support for 16mm Dia Shaft https://www.amazon.com/dp/B0742B18JW/ref=cm_sw_r_cp_api_gRTnBbB0ZX5ET i drill out the holes to accommodate 1/4-20 bolts and use a short piece of 1050 profile as a spacer. I use the 16mm with a 5/8” axle and Skyway Tuffwheels with 5/8” hubs.

I've had the same warning pop up as well as another one saying I have "exceeded maximum allowed power consumption." They both have happened at totally random times. I unplug/replug the CL-12 and it goes away, or plug in the DC boost and it goes away. For information's sake; my headphones are always plugged into the 688. I've never plugged a keyboard or light into the CL12. Only other cable into the CL12 is the DC Boost. I've been told to try a different USB cable, I just haven't had the time to do tests. But, that seems to be everyone's advice; change the USB cable.

What about one of the bigger "suitcase carts" or whatever they're called, where the whole thing is self contained; the "lids" of the suitcase are the top and bottom shelves, middle supports and wheels live inside suitcase for travel? Or getting production to rent you a cart at your destination, if such things are available? I've done two travel shoots (Puerto Rico, and Ft Lauderdale) recently where I traveled with a bag platform similar to your bag shelf. Bag sits on top, little pull out shelf for the control surface. On both occasions I've had production rent me a bigger cart; in PR it was a bigger rubbermaid with 8" pneumatic casters, in FL it was a suitcase cart. I put the bag shelf on top, secure it down, and use half the bigger cart as mixer, and half as utility cart. It takes some clever packing and arranging, but it's a possibility. And, the bigger cart gives you more horizontal workspace, and the big wheels help with rough terrain.

I have this handle on the front of my 80/20 cart, and have added it to other carts I've built: https://www.grainger.com/product/MONROE-PMP-Steel-Pull-Handle-with-Polished-4KZZ5?internalSearchTerm=Steel+Pull+Handle+with+Polished+Chrome+Finish%2C+Silver%3B+Hardware+Not+Included&suggestConfigId=8&searchBar=true&suggestConfigId=8&searchBar=true

I've been running a Denecke 48v phantom power box with a Senn 416 plugged into it just to get enough level with the gain maxed. It would be awesome if this were a firmware fix.

I've been using Sound Report Writer for about two years. I have an old ass ipad and Movieslate won't run on it. But, I really love it. Even with a newer ipad I'd still choose SRW. I like the ease of use, and layout of the program. It's all very straight forward. I, too, have my ipad mounted in a RAM mount and then mounted to the 80/20 of the cart. I can move it around and adjust it to see if I'm sitting or standing, or move it out of the way altogether if need be. No clipboard to locate or stow anywhere. No pens constantly getting lost. It's worked really well for me, and productions have all been happy with them. My handwriting is downright shameful, so it's been a real lifesaver/timesaver for me, and like Jan said it enables me to write more and expand on situations more than I normally would on handwritten notes.

I couldn't figure out a way to elegantly make the pieces fit on my cart with the ears on the battery being the way they are, so it wasn't for me. They are very specifically designed pieces, so not easily reconfigurable. But I upgraded to the LiFE pelican batts and they work tremendously well. I have two on my cart, and they still weigh about half as much as my old SLA's..

The clip light could be cool for folks that work off sides a lot. Mount the clip to a piece of plexi, or some rigid service, mount the plexi to your cart, use the clip on the light to hold your sides, and the light to illuminate them. Might have to try that myself..

Just wanted to throw a plug in for the Sanken CS3e. It's a good overall mic. I've been booming with them almost exclusively for the last year and a half. Sounds crisp indoors, lots of rejection for outdoors, and plenty of pull for wide shots. It can be a little finicky in small and/or echoey spaces, but I think, overall, it is a good all-in-one choice. The mic is not without it's flaws, but what mic is. All do some things well, but not all things. I second going to a rental house and trying them out. It's the best way to see what sounds best to your ears. Good luck. Phil

Hey LA sound folks. My name is Phil Rosati. I am a sound guy based in NYC. I'm a local 52 member, and have recently been considering a bi-coastal work scenario for myself. I am coming to LA to visit friends April 6-10 and would love to stop by and hang out with a few sound crews, if possible. I know some jobs are quite particular about set visits, but if I can, I'd love to find two or three to come check out, hang out.....test the commute . I'll be staying in Venice but will have access to a car and am certainly willing to travel. I mainly a sound utility and boom operator, and have worked on features and a few television shows. I am looking to get a feel for how things run, if at all any different in LA. I know every set has its own vibe, and flow, so I certainly don't expect a drastic difference, but just want to see what it's all about in a different place. I am also trying to see what its like to drive to and from work.....for the majority of my career its been courtesy vans and mas transit, so a commute is somewhat foreign to me. So, if any folks are into making new friends, let me know and we'll work out the details! Thanks everyone, good luck out there! Phil Rosati

Since Virgin Megastore in NYC hads been going out of business, I find myself there every week or two trolling the $10 dvd bins. I just wrapped a feature with David Strathairn, a great actor, and very personable, so I went on a little kick. Watched GOOD NIGHT AND GOOD LUCK. A great historical biopic, and beautifully shot. The mix of new and archival footage is superb. I also tried to pick up SNEAKERS. A great ensemble film, and fun to boot. Last movie I saw in the theater was WATCHMEN, and I saw it twice. I love the book, and thought it was very well done. Sticking to the story was the only way it could be done, and it was great. I guess I've found myself picking up dvd's to watch at home, more than making the trip to a movie theater! Great idea, can't wait to hear more suggestions/reviews. Phil

Looks like a nifty devise indeed. There is quite a lot going on in that little box, but it looks promising. Would something like this be able to interface with a Red camera? Not that I am trying to encourage recording anything more than a scratch track on that thing, just imagining what a producer will think when they find out its capabilities. if it were to be used in a bag, or if two were to be used in a bag, or on a cart setup, would the antennae be gangable? It would be interesting to be able to get eight wires into two receivers. Phil

Hey group, I'm curious about setups that people have found successful with live studio audiences, whether it's sitcom, or imrpov (Chappelle Show) type shows. I'm curious about how you capture audience laughter, within the show, and what you do to try and separate the laughter from the performances. Also, do you place speakers for the audience to be able to hear the performance better, and if so how do you make sure to have minimal bleed from speakers to audience mics. Just curious, I might be working with a setup like this soon, so I'm just wondering what the pitfalls are, so we can try and be prepared. Thanks everyone! Phil Rosati

I believe health insurance as well...or maybe any health related charges...

Just had a meeting this afternoon with my accountant for some tax "issues" that I won't necessarily get into, but he has a similar spread sheet thing, and you just fill in totals from receipts. Now, some of this may be NYC specific(if possible), but travel;subway, PATH, any trains, car mileage, gas, is all deductible. He also had me specify my rent, and any bills since my apartment is technically my "home office" Also, all things use for business, as Jeff said phone, cable, any office supplies. Also business meals, including coffee, snacks, bagels, he said any meal where work is discussed, even with friends. And, of course, the research where DVD's, concert tickets, cable bill, all that good stuff is deductible. He came highly recommended from other film crew folks, so I trust his methods.

Thanks a lot, Chris. I passed along the info. Hopefully some good will come of it. Yeah, he took over when Brian left, and I didn't even know MM was involved.. Hopefully it'll end well for everyone, I told him to do the same as you, every day contact. I'm sorry to hear that you are in the same scenario.. And thank you, Vin for keeping vigilant Phil

The website says they are located in Melbourne.

Very entertaining thread! My father is a carpenter with his own small business and workshop. Him and I discussed taking over his business from him, but at that point I had graduated college and was already getting regular sound work. It wasn't an easy choice though. I started to remember all the fun I had as a kid working with him in his shop, learning how to use the machines, and how to mix ingenuity with creativity. I think the work he does is amazing, but I love the career I've found and wouldn't go back. I also studied Sports Medicine in high school, and almost went to college for it. It seemed like a great way to get into medicine...but on the fun side.. Phil

Thanks Chris, if you come up with anything that'd be great, and I'll try to find out where exactly they are based, since Australia is apparently a large country.... A appreciate the help and concern. The hard part with this production, specifically is that it was a feature. So, everyone was getting paid week to week, no huge problems, a few bounced checks here and there, I think, but nothing too alarming (from a low budget indie standpoint of "alarming"). Invoices were going out at the end of the week, and checks were cut regularly. But, the end of the last week, the last day of production, there were no invoices, and they just told everyone to invoice the company personally instead of the invoices they had used for the run of the show. And now this are a little awry. But, hopefully someone will get in touch with them, and it will get smoothed over eventually. As you said, it usually gets worked out, as it usually has with me as well. Thanks again, Chris, and I'll forward any more info I get. Phil

I'm sorry, I also don't intend for this to be a badmouthing session, or to talk ill of the company. I know I've "named names" but not in a "these people are bad" sort of way...hopefully. I'd love for thing to just resolve itself, but just in case it can't or won't resolve itself, I just thought I'd ask. Sorry, muckraking is not my intention. Phil

Hey guys, sorry to bring some gloom to the group, but I am trying to help out a few friends. Recently a bunch of of friends and fellow film technicians world on a Bollywood film in Philadelphia. The producing company was an Australian production company called Swish, Mitu Bhowmick is/was the producer for Swish in charge of production. The last week's checks for almost the entire Philly crew were postdated with individual notes to the effect of "do not deposit/cash until *this date*". Everyone thought that was a little slimy, and now since the date has passed and most checks have since bounced, and there has been no communication with the Swish company, people are starting to get worried. I wouldn't get involved, but one of the crew members affected is my long time friend and boom op, so I figured I'd try to help him and the others out, and ask around. So, this brings me to the group. Has anyone had an experience, good or bad with this company, or any advice on how to recoup monetary compensation from an overseas production company? Things like this always get my blood boiling, crew members hold up their end of the bargain, and a company thinks its okay to *f* with their financial stability and means of living. Its not fair, and I'd certainly hate to see such an act go unsolved, or unpunished. Again, sorry to bring this to the group, but I figured wince we are a multi-continent collective, I'd throw it out there. Thanks guys, good luck in the new year. Phil Rosati

I've found the same thing, shortening, makes it a much better mount, and lets you also configure it to utilize the cos-11's windscreen as well. Phil

He send his regards to you both, Mike and Chris. We did a little reminiscing about "Happy Tears" and "Hack".