Nick Ray Harris

Cats are better than an ugly dress

I'm not excluding VAS, he's welcome here. I'm just asking we not perpetuate something that can be found everywhere else on the internet.

Can we not do this here? This is my special place away from the rest of the internet.

On tv shows its a concern where we have actors all wired all the time and would not want private conversations being recorded in scenes where they're off set. We typically just disable the track, but if the bleed is going to the mix then its a problem.

In Chicago we keep working in 30 below zero weather!

With the new L-Series there is some kind of talkback function you can program the top switch to work with. I'll play with it as soon as it comes in.

I'll ask him, but I imagine everything is prefade like Wynne said. Two mixers have reported channels bleeding into the mix track, and one has said the tone generator stops working in sub 30 degree weather. Have you guys had similar experience?

Thanks for clarifying. Larry, would you be able to speculate as to why Shure would want such limitations? An attempt to level the playing field against the competition?

I can see how the language can imply that, I commented against doing that just in case. But I feel like you could interpret that the 50mw limit is only to be applied to VHF, hence the parenthesis, and that the rules that should apply to UHF are written after, mainly output power being measured differently. It definitely requires more elaboration, but it doesn't make sense for Shure to want to limit UHF output, they make UHF wireless equipment! I think we need to get Shure on the line to clarify. But either way I commented against any limitation to output power.

I looked through the filing and it only seems to mention maintaining an existing 50mw limit on certain VHF devices. Am I wrong?

A good friend of mine does, he's been mixing a feature with the combo for the last month. I'll be seeing him tonight, want me to ask him anything?

My guess is the materials don't actually cost that much to manufacture, also, who'd risk using a defective windscreen? I'm not sure what to do with the old one now, maybe a travel pillow? Here's a comparison of the old and new. Cat for scale. The differences make sense, I mean why not give even distribution of the windscreen material across all vents of a mic, instead of increasing amounts towards the front. It also is less goofy looking.

Maybe an anodized black version would help?

In my post experience we would use the mix in smaller spots and docs where time was a concern, usually the budget wouldn't allow us to slave over it. Also having the mix be a good representation of whats available allows the post sound supervisor on narrative to determine whats usable and whats ADR, these choices are made often before a dialog editor sees it especially in television.

For me, all ambient on my poles because I boom for other mixers in town, all of the which bought the ambient system when it was the only thing out. Something to consider.

I couldn't tell and they didn't elaborate, they just had me send in a pic and said it was defective. When I get it I'll compare the two.

Karl Dondlinger - on the set of Chicago Fire

Sent a picture of my super softie to Rycote and sure enough, its one of the early defective models. They are sending a replacement this week. Thanks for this video or else I'd have no idea.

On the UE Boom, the ring for the carabiner is attached with a threaded screw, leaving a female threaded hole in the bottom of the speaker, if you wanted to get real crafty you could put a similar sized bolt through the playback cart somewhere and thread that on top.

The essentials at Cinespace Chicago, set of NBC's Chicago Fire.

The rackmounted speakeasy is the only one I can think of that has brackets, there's also some similar speaker systems you can sometimes find in tv production trucks. Aside from the cheaper solution of a UE Boom or similar speaker that has a carabiner that can hang off the village cart.

I have two with my Hawkwoods setup, work great. Lenmar as well. The Wasabi batteries don't lock in as tight, so the top clip doesn't lock down when they're in the slot. I actually like this because it makes it easier to swap batteries. My solution for my Stingray/633 setup is to velcro the hawkwoods to the inside of the bottom hatch, then when I need to swap which is only after 12+ hours usually, I unclip the hatch and the batteries drop out the bottom, suspended by the velcro. Makes it easier to access.

(Copied from the SD mailing list) 6-Series New Firmware Lots of cool stuff and improvements in this new firmware for the 633 (v1.03) and 664 (v2.03) including shortcut commands for easier and faster control, slate gain control, Freerun Jam Once TC mode, and more ... Download 633 v1.03 or 664 v2.03 firmware here: 633: http://www.sounddevices.com/download/633-firmware/ 664: http://www.sounddevices.com/download/664-firmware/ The Sound Devices Team http://www.sounddevices.com

Just to chime in, I work mostly in narrative television. On those sets its minimum two cameras, often three. Everybody gets wired. I've worked with every mixer in Chicago and all but one does it this way. Post demands isos in addition to the boom. And I can say on a daily basis there are scenes where the only coverage of a certain character or line is on the wire because it was impossible to get the boom in without removing a camera, and that just ain't happening on these shoots.