Doc Justice

Looking to replace a mixer for one day on a shoot tomorrow at the Ottawa Pop-Con in Canada. All gear supplied (788T rig, SMQV TX, SrB hops, 411 in bag). Please call me at 215.208.5961 as soon as possible if you or somebody you know is available. Thanks. -Doc

Mostly, I'll have production order them. Keep in mind this list changes for every show, as there are many productions that don't use a lot on this list. The full list is done for the big house reality builds. Here's my list, in case this may help others here: # Belden XLR Mic Level Cable # XLR female ends # XLR male ends # Cat-6 cable # RJ-45 connectors # Cat-3 Telephone cable # RJ-11 connectors # Rolls 2" Black Gaff Tape # Rolls 2" White Gaff Tape # Rolls 2" Black Paper Tape # Rolls 2" White Paper Tape # Rolls 1" Black Gaff Tape # Rolls 1" White Gaff Tape # Rolls 1" Yellow Gaff Tape # Dr. Scholl's Mole Skin (must be Dr. Scholl's brand, not generic) # Packs Top Stick # Nexcare Medical Tape # DVD-R w/Cases # Hard Drives # CF Cards for 788 # Box twin tip Sharpies # Roll Velcro # Roll Dual-Lock # Body Straps # White Boards w/ dry erase markers for tech room and control Batteries # AA Lithium/Alkaline/Rechargeable # 9V Lithium/Alkaline/Rechargeable # Energerizer chargers # Size-10 Hearing Aid Batteries

I didn't like that video I absolutely loved it!

As far as I'm aware, the track names will only be imported on monophonic files, and not polyphonic. It's a function of how the files themselves are named. Try a test where you record in monophonic and see if that's what post really wants.

Any recommendations of brands or types of fiber? Specifically for use instead of LMR or RG8 coax? I'm looking for solutions for long-rage (100+ feet), easy handling, and strength of cable (for indoor + outdoor use).

I did two seasons of a CMT show in Mexico last year. I've worked a lot with crews from Tijuana, so if you have local G&E guys you'll have a good shoot. Don't underestimate the heat, the food, the water, or the bugs. Be prepared for those four things and you shouldn't have too many problems. Enjoy the uncrowded RF space!

I'm in my 30s. My only experience with Drive-In theaters was when my parents took me as a kid. Something tells me I didn't have the same experiences as you guys.

I had to share this, since it's a very clever idea. http://www.indiegogo.com/projects/tethercell-control-battery-operated-devices-from-your-smartphone-or-tablet http://player.vimeo.com/video/53823785 Essentially, you replace one of the AA batteries in your device with a Tethercell (which operates itself from a AAA battery), and you'll now be able to control the power of that device via a smartphone app. Seems pretty great to me! If it works as advertised, I can imagine a lot of sets where this would be helpful on.

Ryan Flynn (hilarious comic and great ENG sound mixer, and also the naked guy) wrote and produced thus video. It was shown at the "I Work In Reality TV" party in 2012. All of the people involved in the video work in reality TV, many on the bigger LA based productions. All are good people.

Those Facebook groups are where professionalism goes to die.

Love this video. Sharing it.

Those giant zips weren't tightened at all. They were just a fail safe against the body strap sliding down. As for the COS-11 instead of a B6, I totally agree that the B6 could handle the water better. But I would never outfit a show like with B6s, since the wires themselves aren't very durable at all. It was definitely a case of using what I had in the moment. Thanks to my very creative of mixers and A2s, we were able to keep L&D to a minimum on the show. Plant Mics, lav necklaces, mic bras/bros...this show had it all!

I wanted to pass along a fun micing situation that I came across recently. For one particular segment on a challenge heavy reality show, I was faced with a crazy task. The contestants were going to run an obstacle course where they would get wet, and needed to stay mic'ed up. For a previous season of this, I ended up making my own version of the mic bra, so that I could get a little bit of extra protection for the lav. This season, I stepped it up a bit. Introducing the Mic Manzier. I cut up a neoprene body strap and made it so that the pouch would house the lav in the front of the body. A little bit of extra padding, an RM11, and some lens tissue in between the windball and element was all the protection I needed here. When the contestants were totally submerged in the water, we could hear the water all around the mic. When they emerged, the lavs were unscathed. On the back of the body strap, I had another pouch sewn in for an upside down transmitter. The reason I did this was to keep the transmitter high up on the body, where it had the lowest chance to also be submerged. One condom over the SMQV before slipping it into the pouch did the trick. No L&D on this one. For the female contestants, I had a couple of pouches sewn into one of their existing sports bras. I expect the women were a little more comfortable than the men, whose straps were made out of huge zip ties. Either way, I got every bit of dialogue I needed from the challenge, and walked away pretty happy with it all. Check out the pics I took for you guys, and fill us in on any wacky micing stories you might have!

Lately I've been helping to staff a lot of reality shows that I'm not mixing on myself. In LA, I've got a pretty good grip on the Reality TV circles (don't hate, scripted guys), but when it comes to New York and Philly mixers, I'm clueless. The worst part about it for me is that I'M FROM PHILLY! Is there anybody on this board from NY or Philly who's willing to admit to the rest of the board that they are a Reality TV mixer? I'm looking to know supervisors, mixers, and A2s so I can wrap my head around the scene a bit better, and eventually learn who to recommend. Thanks everybody!

This discussion is embarrassing. It's really nice to have Larry and Glenn (and now Jon from SD) on this board. It's very cool of them to offer their support and thoughts on their current and upcoming products. It's even cooler of them to take suggestions from end users like us, especially since we are people who will usually buy a new recorder less often than a new laptop. What I find insulting is the call to make these guys defend themselves. Obviously they believe in the products that they're developing, and those products are very close to them. It's awful that we're putting them in a corner where they have to punch their way out and fight back against a couple of allegations. Everybody is entitled to their own opinion. If you have a piece of gear and you're not happy with a particular feature, feel free to voice that opinion. Then, hopefully for the next revision of that product your gripe is fixed. You're not owed a single thing past the point of purchase. Nobody needs to explain their design plans or manufacturing processes to you. I'm glad that Larry, Glenn, and Jon post on this board, and I would hope that anything we say would encourage them to be more involved, and not be so antagonistic.

Many of the shoots I do require the Phonak Invisity ear wig. My usual set up is to connect a walkie to the Comtek BST25 and give another walkie to whomever is running the talent. The walkies give an incredible amount of range since fidelity isn't a concern. Throw in a brick-to-4pin and you've got yourself a pretty portable IFB system for on camera talent.

The "Friend of Sound" pins are brilliant! Sort of a Gold Star sticker for the other departments. I love that. Obviously I don't think that this stuff directly gets me any more work, but it does give people something to remember me by, and hope that my name is towards the front of their minds when it comes time to hire. I also recently had T-Shirts made, also for my own amusement. If any of you are working in the Culver City area anytime soon, I can give you one of these:

Alright, so I may be just using this thread to show off my new business cards, but I'm also curious to find out what other tools do others use to market themselves? Business cards? T-shirts? Hats to tell people to contact the manufacturer? Whatcha think of the new card?

Thanks everybody. I keep in touch with post pretty regularly, and the producers of the show are very savvy with the technical side of production, so we've got a great open dialogue about how to better the show. I wanted to see how other mixers would do the show before I revealed how I do it just to see if I could find some off-the-wall opinion or technique that I haven't thought of. But here's my method: Our host wears a Sennheiser MKE2 Platinum lav, usually under the thinnest of shirts so that mic rustle is rarely a problem. Around the kitchen counter are a few 416s angle as such so they point directly at whatever's cooking ("the sizzle") and away from the host's mouth. The theory is that the mic picks up the dialogue while the 416s grab the sizzle. I do a mono mix to camera and record ISO tracks separately. We shoot two angles of each act twice, and then grab whatever pickups we need. It's a very controlled, precise pace, but done as one smooth pass. Post uses the host's lav for about 95% of the sound. They routinely use their own library of sounds to fill in where it's needed. Like I said before, the end result is sweet. It sounds great to me through the headphones while recording, which translates even better at home on the couch. Obviously completely separation of the sizzle and the dialogue is impossible. On days where there is heavy frying, the sizzle tends to overpower the host's voice. If there is a technique or other solution that can help minimize this, I figure you guys would have the answer.

Hey all. I work on a Food Network show that I'm extremely proud of the sound on. I've tweaked enough over the past few seasons that I'm happy with the dialogue. However, there has been a few episodes that have been more challenging than others. This is where you guys come in. I'm not married to my own methods, and fully recognize that many of you have been doing a lot longer than I have, so I'm here to beg for your suggestions. How would you attack the following situation? A short person is standing at a countertop, speaking directly to camera. They are frying up some vegetables directly in front of them. Post wants to have as much control over dialogue as possible, so they want to record speaking and the "sizzle" as separately as possible on different tracks. You can use any mics that you want; boom, lav or plant. What do you do? Thanks in advance for the help. It'll be interesting to see how different your techniques will be than mine currently are.

On the show "Work Out" which aired on Bravo, the trainers routinely wore mic necklaces. In essence, it was a leather strap with a washer on the end of it, with a MKE-2 run through it and the head in the center of the washer. The internet couldn't figure it out, and they even started marketing the necklaces. This was the only active link I could find though: http://www.getdiamondcut.com/lessons-from-jackie-warners-skysport-spa-how-to-make-more-money-as-a-personal-trainer

Why does lightning come before thunder? Because even GOD has to wait for audio!

I've worked on Super Nanny as the audio supervisor for just a short while now, but it's definitely a good gig and a good crew. 2 weeks to shoot a 1 hour episode. The tape-to-air minutes ratio is crazy. But the crew gets to travel to small towns all over the country, and every one of em loves it.

Hey everybody. I've been a daily visitor of this board for a long time now, but haven't contributed to any of the discussions until now. I've encountered a problem that I couldn't find any way around, so I'm looking to the community for some suggestions. I recently updated a 788t to 1.60 to use with a CL-8. After doing so, the audio going to camera, ifb, and my headphones sporadically became mutilated. I tried reinstalling the firmware, disconnecting the CL-8, everything I could think of. Then I found this on Sound Devices' website: --------------- Known Issues An intermittent condition can occur where audio at the headphone output and audio at an analog output are characterized at "tinny" at playback and monitoring. The recorded audio is not affected. The condition can be cleared by power cycling an input by turning its trim pot off then on. --------------- The problem seems to only happen after a few start & stops in recording. Turning the trim pot off then on during a take is not exactly an option. I found myself completely restarting the unit in between takes to try to avoid it, but that's not a solution either. How has this been a known issue since November and there has been no fix yet? Have any of you other 788 users experienced this?