johnpaul215

Great to hear

This is a bit stream of consciousness, and not a well written review. Forgive the randomness. I just spent about 2 weeks with a demo Oasis on a narrative cart job and really really like it. I used to do a lot more cart work, and had a Fusion and Mix 12. For those familiar with the Mix12 / Deva setup, just a Nomad and Oasis will feel very familiar, but upgraded. Add the tablet to it, and it takes the experience to another level. I was using a 7" WinBook that I got for Nomad touch in a bag. I think for a cart you want a bigger screen to take advantage of all the potential info, *maybe* one with a little more processor? (1) A few people have posted pictures of their layouts, and it's great. until now, the one thing i really preferred of the Fusion/Deva was the larger touchscreen interface. I've gotten used to the Nomad screen for bag work, and now on the cart you can have as big of a touch screen as you want. Definitely love that, even if you are using it more as a screen than interface, it's nice. I don't think I took any screenshots of my tablet layout, but i might have some pictures that show it. I never had more than 4 or 5 people wired, so I didn't need to use multiple fader banks. I like the fader movement. I like the transport controls on the mixer. Similar to the Mix12, and i never accidentally hit them with either mixing surface. The Oasis plugs into the serial port of the Nomad, so I still used a standard keyboard in the USB port (of the Nomad) and it worked great. Same thing I did with my Fusion/Mix12 setup. I didn't 100% put it though its paces. There are some features I didn't really get into. I was in the middle of a project when I got it, so i hooked it up and went to work. Obvious things I used the most, transport controls, faders, trim adjustment, slate mic, PFL buttons. Maybe habit, but to get into the menu, i still reached for the Nomad itself (instead of the Oasis, or tablet). for metadata, my keyboard F keys take me directly to scene, take note, etc and those all worked with this setup. I used those buttons since I was going to type on the keyboard anyway. When I sold my Fusion/Mix12, i was worried that any future cart work would be a letdown, but this is even better. I definitely want to buy an Oasis when my next cart job comes up. If i get back into doing 2-3+ films a year (or other cart work), this is a no-brainer to buy. I am really impressed with it. I'm pretty sure you can download the Oasis tablet software and see what the layout options are, even when it's not connected to an Oasis. (1) My tablet may not be set up the most efficiently, it's the first MS Windows thing I have ever owned and has a bunch of pre-installed nonsense.

one feature of the Apple Watch is that it periodically checks your heart rate through the day. it presumes you are exercising when you're elevated above your averages, even if you don't put it in a specific activity mode (biking, rowing, running etc). I often wore a HRM when i was running (i used to do marathons), but never all day. With my Apple watch, i have gotten notifications that i hit my "30 minutes a day" of exercise when all I did was sit at a cart and mix. It doesn't know what I'm doing, but it reads higher than normal BPM. I had a feeling I was on a stressful job, but this confirmed it in ways i didn't expect. I've had the watch for a few months now, and this is the first time I really noticed that.

If you use fader banks, then the motorized faders are the way to get faders to "remember" where they were when you switched out of that bank. When you switch back to bank 1 from bank 2, all the faders will be where they were in bank 1. You kind of need that to happen when using a linear fader

So the 5-pin Lemo on the left is Alexa Mini audio, and the 5-pin Lemo on the right is the standard timecode one we are used to seeing. Did a camera test yesterday connecting these to my ERX and everything went smoothly.

Has anyone successfully fed audio to the Alexa Mini yet? anything to know? Looks like TC is standard Lemo 5 pin sized. Aside from the special audio Lemo cable, any other worries? I *might* have a job with one coming up. I would only be looking to send mono scratch audio to it (via ERX).

1) any pictures with this next to a 4063? 2) just saw this: From now until October 18th, 2015, DPA Microphones will be giving away a FREE MicroDot adapter with the purchase of any DPA bodyworn d:fine or d:screet microphone (a value of $100)!! Please choose the adapter you would like in the options.From now until October 18th, 2015, DPA Microphones will be giving away a FREE MicroDot adapter with the purchase of any DPA bodyworn d:fine or d:screet microphone (a value of $100)!! Please choose the adapter you would like in the options.

Anyone have a good picture with a Maxx in the bag? thanks

It can't hurt to collect evidence of those hours no matter what. I have WAY more than needed, but it could take me days to prove it. It's like doing taxes. you can count your expenses as you go, or freak out every April. That's just time consuming. The OSHA classes are what I was waiting on to see if they changed in any way as part of the restructuring, or in wake of some recent accidents on sets. Doesn't sound like it.

Just thinking out loud.... I've wondered about the 800 hours too. I'm not sure I have ever worked on an indie with pay stubs. It's all invoice and get a check with not stub on it. I have a lot more than 800 hours as a sound mixer on reality TV with proper payroll and stubs and whatever, but it's such a different world. I wonder if having credits from mixing a dozen "features" is good enough to count towards the 800 hours. I can't be the only person in that situation. I didn't apply this round because it sounded like rules were changing, and I didn't want to take aerial lift certification classes never knowing when the freeze was going to be lifted, only to find out somebody realized mixers don't work around those. I talked to somebody affiliated with the Philly branch last week and they said "just go up to NY tomorrow with an application and a check for $800 and I'm sure you'll be fine". um, ok.

The newer ones have an option called Power Roll. they transmit at 50mW until you go into record, then bump to the power. That was intended to help battery life. I usually use that, so my battery life is all over the place. if it's a lot of waiting, then I'm sure it helps a lot. if it's a doc/reality job where you never cut, then it doesn't mater. If we are really down for a while, I use Zaxnet to put them all in standby mode anyway. That all definitely helps, but every job is different, so i can't give scientific numbers.

The basic use is easy as anything. If you want to get into the more complex features, it might take some reading, and that should be done before you're on location.

I missed out on this too. I had no idea the freeze was over. Also, not totally sure it's worth it for me to apply at this point. There's not a huge volume of union work in Pennsylvania that is available to Pennsylvania residents. The bulk of the work here isn't union stuff.

Anything happen with this? I got one back in June.

I definitely like this idea for interviews. I've often put something under the bag to tilt it towards me, and it's never quite right.

Do you mean versus wired boom to a sound cart, or other solutions of wireless boom? I haven't had a boom op wired to my cart since about 2008 and it's been a huge help. I feel it is safer for everyone, and allows them to last minute hop across camera or around a light when that shadow pops up that nobody noticed before. I don't use wireless boom to the bag I am wearing, but i have heard some people will in a location that forbids cables more than a few inches or something. I've always done wireless boom where the boom is cabled to a MM1 on the boom op, and they have that and a transmitter. When they want/need to step off set, they often disconnect and walk away. They have all that extra gear on (though it has benefits). This all-in-one solution allows them to put down the pole and walk away. The mixer at the cart can still monitor what is happening on set and tell if things are getting close to starting up. That can be really helpful if our cart is off in a dark corner somewhere. Us using a MM1 is more because we figured out that setup as a way to give the boom op high quality monitoring. Definitely not the only way, just the one we have used many times.

you could also try calling Glenn at Zaxcom next week. I'm sure he would love to explain it to you. He has chimed in on these threads, and at Zaxcom.com, but if you want to get really specific then a phone call may be in order. When I see him in person, i can get a lot of really good explanations to my questions. The guy knows his stuff. I say next week because it's a holiday in the USA, and a lot of people are out. If they are working,t they're probably also covering for people on vacation. If you do a search, there are specific NeverClip threads on here as well. This is a Nomad thread, so I think some people took that specific discussion to its own thread (since the Nomad isn't the only Zaxcom product with Neverclip, it was just the first). Actually, I think the whole current product line has Neverclip now that the older Devas have been retired, and the Deva32 has it (it's in the wireless mic transmitters too).

I got a Hirose to 4 Lectrosonics DC plug cable somewhere. Here's one on eBay.

Awesome! Thanks! I'll definitely check them out. I thought I saw them at NAB, but it was the end of a day and at the time wasn't specifically looking for them.

Are these made by DPA with a short gooseneck and a Lemo3 (or microdot), or is that an aftermarket mod done by somebody else? I have the Engh ones with TA5, and find them useful for reality TV when I have less than 30 seconds to throw one in a car, or drop somewhere. I usually keep the mic itself in my mixer bag, always ready.

Nice!

That's also why Lectrosonics gives you the rubber boots with the transmitters, and they designed that perfect little lip around the SM series TA5 port. That will protect the port from dripping water/sweat. Not waterproof, but it does a good job preventing what you described. Admittedly, I only have one COS11D wired up with the boot.

Do you all route your slate mic to Comtek/IFB and/or camera scratch feed? I sometimes only sent it to the mix track. On some shoots I stopped voice slating because I NEVER knew when we were changing up shots, so I was often slating wrong info. I was changing metadata while mixing.

that said, if it was for housing of a crew..... there may be some issues like lack of enough bathrooms if people want to shower before work. I've done jobs at the NJ Shore where they rent us houses instead of hotel rooms. They weren't Air BnB, but effectively the same for us. I kind of liked the house aspect instead of the film crew scattered throughout a hotel. We had a real kitchen and a living room. Laundry in the house, full sized fridge etc. I guess I've been lucky that i liked the people I was living with. We all had our own rooms and all, but still sharing a house with some strangers for a month could be a mess. I think somebody made a TV show out of that.

I just stayed in an Air BnB in Santa Monica and Venice beach. One was pretty nice. The first one, we found out on arrival, that it was kinda secret that the renter was Air BnB renting the apartment. Great. Also it was billed as dog friendly, and that didn't last. The second one had neighbors that knew it was an Air BnB, and weren't too happy. Both were apartments with shared areas, so understandable. We did notice that a lot of the LA area listings have a "no filming/photography permitted" policy, but who knows if they enforce it. I worked on a few things here in Philly that used an air B&B as a location for a few hours of ENG type shooting. Reality TV pitch kind of stuff. The homeowner definitely knew that's what we were doing, and our light kit was 2 light panels I think. We were in and out in a few hours for those, so I guess it was easy money for them.