Jeremy Katz

Hey all, I'm in the midst of trying to find proper insurance. I've talked to my insurance agent and he says "the unattended vehicle" exclusion is almost always present nowadays. I know people have mentioned that whether the car is locked or not matters, but I can't even find coverage for unattended vehicles at all. Any advice?

I'm not sure how much time I'll have to dial everything in. I will definitely check mono ASAP and may throw up a single omni (all I will have) as a backup for mono.

Wow thank you everyone for the great info! I think I've settled on going with the NT5's using the ORTF technique. Now all I have to does get my hands on a tall enough stand and a proper mount in time for the gig. Thanks again everyone for your help. I'll report back after the gig is over.

Thanks Tim, I am pretty excited for this one, should be fun. If I could, I'd do it properly but the budget won't allow it this time. It's really just a b-roll with nats situation. So I'm trying to get the best sound I can with basically 4 mics or less. I own a coupled large diaphragm condensers (NT1 and 2), a couple 58's, and I'm looking to add a stereo pair.

Hello, I am looking for a decent stereo pair of mics to record an orchestra and choir in a nice sounding hall. Has anyone tried the RØDE NT5's? On a related note, what are everyone's thoughts and experiences on using a coincidental pair of cardioids versus a spaced pair of omni's for this purpose? Thanks for any and all input! P.S. I know "use my ears," "it depends..." But just looking for a starting point and some educated input. Thanks again!

Seth, Thanks for your response. It isn't so much about managing the pace and/or stress, as I work in live TV and am quite used to that. It is more about the things I can't learn from reading the things on this forum. Boom techniques, perspective, and answers to questions I don't even know I have yet. Or what do I do when I show up to set and the producer says "surprise we're shooting a swimming scene today!" That being said, this forum has been extremely helpful to me. I guess for the things I can't learn from here it'll have to be the old baptism by fire. Thanks again! P.S. Senator, What no trany's in LA?

Hello, I have posted a similar topic on this forum before but got no response. Hoping for a different result this time. I am a young broadcast mixer/a2 who is looking to learn the art of location mixing and recording. I have been getting a steady flow of reality and corporate gigs, but if I had the opportunity to do a job with more than a few lavs I would not be prepared. I am hoping to find an experienced mixer in the Bay Area to show me the ropes. I'd love to stop by a set and 2nd or 3rd for a day, but even an email dialogue with a successful local mixer would be awesome. Any and all help is appreciated! Thanks.

Thanks for all the help! Mr. Massey, I have noticed that the Quicken software available for Mac is somewhat limited. Is it sufficient for what we do as freelancers?

Hello, I am just wondering how to differentiate between kit rental and labor on invoices. I put them as separate line items, but as I understand it they are taxed differently from reading other posts on this forum ( I have done a search). If they production company cuts one check, can I then file the two separately myself when tax time comes around? I apologize if this is simple stuff, I am new to renting equipment. Thanks for any help.

1) I usually leave them all open. It is just too hard to read cues of guests you may not be familiar with, and you definitely don't want to clip the beginning of their sentences. I haven't had the experience someone else mentioned of having echo or combing when leaving multiple lavs up. Have good placement and gain structure and you will be fine. 2) For shows with a lot of guests I always have a mic list printed out well beforehand and passed out to the stage manager and crew so everyone knows who is on which mics and IFBs. It depends on how many mics sets you have at the studio, but to make it easier, if there are enough, put everyone on separate mics so you can label the board before the show and not worry about swapping. If you don't have enough mics you will have to determine the best plan for you and your stage manager. Its best to give at least one block of programming to swap mics and not leave just a commercial break. 3) It depends on the producer, but most likely yes. You can have VTRs, cart machines, CD players, DATs, remote feeds, Chyron FX, and FX off the switcher. You will make your moves based on your director's calls. 4) As for lav placement, it is much easier since you most likely not have to hide them. If they are wearing a tie, clip it there so that it doesn't matter which way there head is turned when they are speaking. If not, clip it to the lapel on the side that their face will be facing most of the time to avoid drop outs. As for the cable, if they are wearing a suit jacket just throw the transmitter in the inside pocket and have them button it. If not it goes under the shirt. 5) This is up to you. Do it however you think is best based on your studio's gear. I think you will be fine. It will definitely be baptism by fire. I have done both radio and TV, and they aren't that different. Main difference is in radio there is no director which in some ways is harder. Good luck!

My experience is block 26 is pretty open, 24 has worked well for me in SF proper. On a side note, I tried using 24 in the sacramento area and it was completely covered. I am looking into purchasing a couple more lectro kits, and am debating between block 19 and some more block 24's. In the end, as Alan said, I think it is probably best to have all the options you can!

Hello, I am an experienced broadcast A1 and A2, and am looking to expand my skillset into the world of location sound mixing and recording. I am looking for any utility or boom work in the Bay Area, and am willing to work/learn for free under the right mixer. If anyone has the need, or knows a good place to start, please let me know. Thanks!

CSN Bay Area and California shows are all IA 119

I will be in Cabo unfortunately, but would have otherwise loved to go. Keep 'em comin!

I was just wondering what PM's mean when posting a job and they ask for a sound reel. For location sound would that be the recorded tracks before post, or the final product? Either way, is it alright to be sending out media that technically doesn't belong to me? I usually just send out a list of credits in resume form. What does everyone else do?