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conleec

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About conleec

  • Rank
    Hero Member
  • Birthday 03/05/1967

Contact Methods

  • Website URL
    http://www.ChrisConlee.com
  • Yahoo
    conleec@yahoo.com

Profile Information

  • Location
    Los Angeles
  • About
    I'm a professional motion picture and television editor who dabbles in post audio.

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  1. A few weeks ago I was in the market for a bag for my MixPre 3 recorder, and I ultimately decided upon the K-Tek Mix Pro bag as it was a perfect fit and it still had room to accommodate a USB-C battery brick as well. Next I needed some sort of hard case to store my gear when not in use, and I just wanted to share a few pics of my new Condition 1 hard case. I don't work for them, and have no financial interest whatsoever with them, but I am pretty impressed by the quality of this US made case. It's even more impressive when you realize it's only $80. This is the 20 inch "large" case, and I was able to configure it for: Rycote Mic Handle MixPre 3 w/USB-C Battery Rycote Softy Mini Pelican SD Card Case USB SD Card Reader Audio Technica BP4025 Stereo Mic w/Wind Muff Sennheiser MKH 8060 Shotgun Mic Sennheiser HD25 Headphones And the requisite mic cables Not bad for $80. Just thought I'd share, in case anybody was looking for something similar.
  2. Can it fit upside down? The USB-C connector can go in either way, no?
  3. Okay, well I went to Location Sound in Los Angeles, and took my gear along with me. Ultimately the very best bag for me was the K-Tek MixPro bag. My gear fit like a glove. The pouch on the front won't really hold my Sennheiser HD-25 headphones, but I can sort of stuff the cans in and close the zippers down around it to keep it in place. Works like a treat. Now the only problem is that I had previously purchased a K-Tek Stingray Junior bag, which is too big. If anybody is interested in THAT bag, I've currently got it listed on eBay here.
  4. Wow, those really do look good. I'm going to go to Location Sound with my gear and see what they might have too.
  5. Yeah, I've been looking at that bag online. Looks right, but I haven't been able to find internal dimensions listed. I'm a little worried about the battery brick...
  6. Interesting. I see that Location Sound has OR270s in store; I might try to swing by during lunch and take a look at it. I'm wondering if maybe I should look at a smaller USB battery brick, too? The one I'me using is wonderful, but it's so tall or wide, that is extends well past the edges of the MixPre3. Any recommendations there?
  7. Yeah, I wish there was a place like Gotham in Los Angeles to demo all the bags. I'm driving myself crazy trying to come up with the perfect solution by internet research alone. The Airo Case worries me. While it looks almost perfect, my kit is nearly 4 inches thick, with the rechargeable brick, and the specs say the bag is only 2.8 inches deep. Is it flexible enough to accommodate something slightly thicker?
  8. Hello All, I've got a MixPre3 with an external rechargeable battery that I connect via USB-C. I'm looking for a small field recorder bag to organize the gear and a set of Sennheiser HD-25 headphones. Does anybody have a similar setup, and what bag would your recommend? I use the recorder for field recording of sound effects and ambiences, not production work, btw. All personal stuff. I've been looking at options online, and it SEEMS like the best two options for my particular setup might be the Sachtler Small, or the Orca-27. I've attached the battery to the back/bottom of the recorder with Velcro, and it's almost 4 inches, stacked. You can sort of see it in the attached image. Any thoughts? Thanks a million in advance. Chris
  9. Wow. Great interview. And I didn't think Neil Young seemed that far out there at all, actually. I totally got his analogy about pushing as far as you want into analog and always having something new to explore, whereas in digital, once you've gotten to the individual sample, you're done. There ain't no more. Both visual AND aural. Very cool stuff. Thanks for sharing!
  10. It's pretty common workflow, at least with Media Composer, to only cut with a single mix track. The subsequent AAF, when imported to Pro Tools, can be expanded to include all the available tracks, so long as proper metadata was captured and maintained through the process.
  11. Yeah, I've worked with directors who will move heaven and earth to use the production track, if at all possible. We all know, ADR is hard to get right, especially when it's emotional and the performances are really good.
  12. I've used Melda's Dynamic EQ to do this. It has a matching feature, and I use it to help get ADR in the pocket. https://www.meldaproduction.com/MAutoDynamicEq
  13. Yes of course. But as I mentioned, it was all the light we had, and I really had no choice under the circumstances if I wanted a balanced exposure (which I foolishly assumed the prior DP had done as well). I don't know what those kids had learned in film school, but it wasn't what I learned, I can tell you that. Chris
  14. That reminds me of a similar experience years ago. I was asked to fill in as DP on a small feature for a single day, because the regular DP was off doing something else. We were doing a breakfast scene in a rented trailer in a parking lot somewhere and we had only a few lights and a consumer generator with some stingers run in from 50 yards away or so. Not a lot of light, but I opened things up and was confident it would look nice (shooting film, btw). The director asked what F-stop I was using and I told him 2.8. He cringed and said something to the effect of: "Our DP always shoots at 5.6." I shrugged and said, well, with the amount of light I have, we need to shoot at 2.8. He didn't seem confident, but we did it anyway. Well, long story short, I should have listened to what he was saying because when I saw the finished film I realized that the DP had indeed shined light directly on faces to get a 5.6 reading, but the backgrounds had all fallen to nearly complete darkness, whereas my scene was properly and evenly exposed. I'm not saying I'm Haskell Wexler or anthing, but compared to the other guy's footage, well... The director asked me what happened, and surprisingly I had to explain to him that a piece of film of a given sensitivity requires x amount of light to be properly exposed. If you have more light, you have to close down the iris, if you have less light, you have to open up the iris. In either case, the same amount of light is hitting the film and exposing it. Of course other physical changes occur depending on the size of your iris, etc, but the principle of exposure seemed to elude him (and the DP too, seemingly). Another head scratcher.
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