EricL

I'm the same, I rather just watch it on my HDTV on Blu-ray when it comes out. There's very little from hollywood lately that i even want to see in the first place. I might hit the Tarintino flick when it hits the dollar theater maybe. Everything coming for hollywood is remake this and remake that and sequel of the remake or "hey, let's turn some nostalgic into a movie and blow tons of shit up!". What happen to the American Beauty's of the world? Eric

Anyway you slice it whenever you do anything, about health care or anything else, someone is going to get screwed either way, or feel they've been screwed. Either the rich feel like they're all footing the bill and the poor lazy bums are milking the system or the legitimately people in need can't afford anything because only the rich can. If you're in the middle and hardworking and you're not milking the system but you still can't afford anything either, you're just SOL.

This one is laughable. Low Budget Short needs Sound Recordist (Brooklyn) Date: 2009-08-17, 4:28PM EDT Reply to: gigs-j4p2s-1328189407@craigslist.org [Errors when replying to ads?] Low budget short film intended for festivals seeks Sound Recordist/Boom Op. Shoot is Sept. 7th-13th. Looking for someone comfortable on small productions with limited crew, shooting in tight spaces. Need to have your own equipment. $200 flat rate for the shoot. To read sections of the script, please go to GabrielBaron.com and click either the opening scene, or the auditions link to get access to the sides we are posting for actors. Please respond with resume and samples of your work. Shoot is all in one location, in Brooklyn, all meals and Kraft services provided. Work with award-winning write/director team, experienced television and stage actors. Thanks, and we look forward to meeting you. * Location: Brooklyn * it's NOT ok to contact this poster with services or other commercial interests * Compensation: no pay

Do you already have the 302s or something? because a 442 to a 744 will get you your 4 iso tracks.

Isn't that how a lot of dirty movies start? :-) Anyways, Richard, your posts always make my day. Eric

That's sad, i've only been out of film school for 5 years and the first thing they made us do when we started shooting film and sync sound was transfer nagra to mag stock, sync the sound on a steenbeck, send the reels off for marking (i can't remember what it was called now but where they print the matching numbers on the edge of the film so you can cut it all up and have the right sound and picture matched, anywhoo) then edit the film on the steenbeck. Maybe i was just lucky and went to a school that cared to expose you to it all. Oh well. Eric

aw man, it was flagged. CL ads are always priceless. Maybe I'll make copies of all the ads that are insane and compile them into a book. Eric

they have a 15v version? Where? I don't see it on their website or any retailers?

I've had that exact same thing happen using AKG Blueline on a 302. My solution was stop using it, but it was AKG Blueline so I didn't really care. Hopefully this gets sorted out because i was really hoping to get the 8050.

Being in the US wouldn't have helped you on this one since Toronto is in Canada.

call Senn? They might stock them for giggles.

I experienced problems with my 82i at about 45*F or below when it was wet. Or below freezing with dry conditions. Never had problems with anything above 45 or so, it's been through quite a few crazy rain storms with me and I'm sure in it's 15 years prior to me owning it it was hammered plenty since i bought it from a guy working in Vancouver, BC so plenty of wet conditions I'm sure. Of course I'm talking about a 20+ year old mic, would new ones have the same problems, i would expect those kinks to be worked out by now. Or is it one of those cases of "they just don't make 'em like they used to."? Eric

No, there was a thread on here where you guys were talking about that you guys are basically billing your rental separate as a "company" and labor is paid normal by the production. I wish i could re-find the thread then i would have just posted there. Eric

I know I've seen a thread on here but I can't find it again about renting your gear from a business you just happen to own and getting paid labor through the production. If someone can point me in the right direction that would be great. Basically looking for info about what the difference junk you have to deal with being a employee of the production vs being an independent contractor and also if you use a business to rent out your gear to the production how do you then make the money from the business your money for personal use? Don't you get hit double at tax time with business taxes and then personal taxes? Any resources to look at would be nice. Thanks. Eric

Yeah the Field is 5.7lbs with six modules (i'm assuming no battery though according to Lectro's specs) and a 411a weighs just over 15oz (w/ battery) so six of those would be 5.6, so less then 2oz lighter for 6 - 411's then add a pound+ battery, that's not THAT heavy. Eric

So with the SR's not having tracking then a six pack venue field system doesn't look so bad. What would the different be between running 6 411 receivers vs the Venue field with six tracking modules? Besides cost? Venue Field 2100 + 3000 for 6 VRT modules Total $5100 vs 6 UCR411a at 1700 apiece for Total of $10200 I haven't heard much about the difference between using the VRT venues vs 411 receivers, other then portability, etc... what about performance since you'd be using the same transmitters either way. Eric

Though, please correct me if i'm wrong but i looked over the whole manual and didn't see it, with the SR's there's no front-end tracking, which you can get Tracking modules for the venue. Eric

Maybe there should be a lower level coalition/union. There really needs to be a sharing of information with our fellow low budget mixers and our low budget camera department and everyone else for that matter. There's too maybe books out there that basically tell you to make your movie off the backs of slave labor. (Make Your Own Damn Movie!, this one pisses me off the most, especially when he shoots a film with a 500,000 dollar budget and there are still people on the crew not getting paid). But there are so may suckers that are out there that will work for free they'll always find someone to do it for free and bring their multi-thousand dollar kit with them that isn't insured by either them or the production. And I love how the lure of IMDB credit seems to bring them in droves. 1. it's not hard to get a POS onto IMDB and 2. even then they don't even make it that far, of 5 Feature and 20 Shorts i've mixed only two have made it to IMDB and they're not even the ones I thought were any good. Guess i ranted, oh well. Eric

Yeah, I just watched the Zaxcom video from Coffey, i have to say that is insanely cool. Expensive, but cool. If you were running a Deva, Mix 8 and 4 wireless, with just those a 2.5% rental fee would be close to a grand. Guess I'll just continue on and hijack my own thread. I'm still quite awhile out until I can get back out there, damn student loans, so while i have a regular day job and pulling in decent money and can slowly snag the stuff I know I want like CMC641, krm82i, COS-11s, boom and various accessories. I'm currently stuck in Columbus, Ohio (if anyone needs a boom op or assistant for weekends or evening I'm around :-) ) so I'll probably have to travel and be a bit of nomad, but just base from here since I have a house and a wife so i guess i have to come back here every once in awhile. All my experience has been in the narrative film, just happened that way, but I'm not against working in other forms. I'll probably go with something like the SD442 for a mixer, i used to have a 302 and loved it, but since the 442 has direct outs I'd like to go with that instead to have the direct outs plus a mix out and still keep the portability. Then rent a recorder from there unless a long gig came up that would cover the cost, or maybe do a firewire interface(Motu Ultralite?) to boom recorder if portability wouldn't be an issue. Why can't life be easy and there be one choice? Nagra 4.2 and PD4 are recorders that i used the most since the SD7 series was just barely released when i stepped away. Slowly but surely I'll figure something out. Eric

Good to know. I've been out of the game for 4 years now (working on getting to a financial happy place) and i have no kit anymore, kind of depressing, but the good part is i get to start over from scratch.

Good to know. Is that usually called out in a product's literature? If it's just a padded pre-amp or if it's a bypass? And in that case which would be better? I'm assuming pre-amp bypass since it wouldn't go through two pre-amp circuits. Eric

I guess this a bit of a "for the sake of argument" type question. When it comes to powering a mic directly off the mixer I understand the need for high quality pre-amps. But what about when you're dealing with wireless and you're patching into your board at line-level from the receiver? Would you notice any difference between using a highend board like a Cooper vs something like a Mackie Onyx? Just curious I guess. Eric

It's broken off right at the coil and i'd rather have the straight part at the connector, and that connector is good because you can screw on the 1/4". I'll give Gotham a shout. I've been in there a few times while in NYC. Was actually in there right before my first ever gig to get a couple lav wired for lectros. Awesome bunch of guys over there.

Back to the pre-amps. How are the pre-amps on the 02r for powering your boom mics not just taking the line-level inputs of your wireless units. What about some of the cheaper units like the 01V96 or the PreSonus Studio live or DigiMax and lastly the Muto Traveller.

She sleeps in there willingly, it was for her crate training as a puppy and that's where she likes to sleep, along with our other 3 dogs But yes, i was planning on recabling it since there's nothing else wrong with it. Anyone have a resource for a replacement cable?