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johnpaul215

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Everything posted by johnpaul215

  1. Is there any lag in the ERX display, as opposed to the output signal? I never heard that mentioned. Connecting slates in slaved mode to the Nomad and ERX and then taking pictures might be a way to get something without full testing equipment.
  2. 6 hours 1 minute is very impressive for such a tiny unit..... Amazing work!
  3. Taps talk working fine for me now
  4. I did this on a show last year. I had my mixer feed 1&2, and the host's mic always going to CH3.... Just in case. Took a little tweaking to make the frequencies work, and not ideal, but it was ok. I did it because I joined a show that previously had no mixer and the host had what was usually the only lav directly feeding the A camera. They would pop off the cuff things as we were "done shooting" and walking back to the van. After missing a few of those, I worked this out.
  5. ~8 hours battery life is awesome! very happy to hear that.
  6. Personally I used the Fusion for almost everything where I recorded for a few years, then got a Nomad and put the Fusion on a cart. I think the Fusion is 5lbs, so it's not the machine itself that's heavy.... It's the 8 411 receivers you plug into it. I thought about buying more SRbs instead of a Nomad as a way to overall drop weight, but liked the idea of having 2 machines.
  7. Ahh thanks Pindrop. I didn't have my coffee yet
  8. I'm selling a Deva Fusion 10 with relatively low hours. A little in between the two machines you mention. Records to compact flash cards. 8 XLR preamps. Touch screen. Approx same Same size/weight as a 788, but has an internal NP1 battery slot. It's in the "For Sale" section if you want to see the details and pictures. (Edited)
  9. I've never used it but I'm pretty sure my Fusion does 192, but there may be a track count limit. I forget.
  10. ^good point Matt! It's sort of impossible to have an accurate NiMH setting because every battery has a different capacity. That's why Lectrosonics suggests using the timer setting.
  11. I would love for somebody (Script Sup?) to enter scene & take and have it magically populate the fields on my slate(s) and audio file meta data. I can't tell you how many times I see&shear the slate and it's not what I expected.
  12. My image of a film crew playing "bring your gun to work" seems like a terrible idea.... and that thought has nothing to do with gun rights. I've seen some pretty rowdy disagreements on sets.
  13. I get waaaaaaaay better run time with the Panasonic Eneloop Pro AA or Imedeons.
  14. There is some very newbie "everyone makes $100/day, crew and actors" concept out there. 1) they may legitimately not realize the ticket price of our package. 2) there are a lot of select people getting all back end. I recently read an article in an airplane seat pocket magazine extolling this "brilliant" business model. They talked to some producer(s) that use this model repeatedly for their films. I'm not sure what crew members would do this more than once, at least the ones getting no backend payouts. It seemed more like a ruse to pretend everyone really was only going to make $100/day. Wish I could remember where I read it. Nothing new to us, but very bold to see it bragged about in print.
  15. There some of my Lectro pouches that are packed (with random non-Lectro things) to the point that they would be better in a slightly larger case. This is perfect!
  16. Agree that the demo is intriguing, especially if you work on a scripted series and can get everyone on board. It could really streamline things for post, as well as on set workflow.
  17. Prahland: it's not just California. A lot of the rivers and lakes in Nevada and Utah (and more?) are really really low. At least a certain amount of that water (snow that slowly melts all summer to feed rivers) makes its way down to help fill the California aquifers. Last year I was working in Utah and Arizona and looking for places to go on days off. I found some crazy pictures of what had been marinas just a few years earlier that were all dried up. A friend back on the east coast suggested a boat tour she did, but it was scrapped because the water levels didn't support the boats anymore. It's kind of crazy.
  18. I'm not rude to them, but I also wouldn't know where to find somebody with 8 wireless mics, and a TC multitrack recorder that will work for a flat $150/day. A college kid around here won't have access to that kind of gear. That's not just reality TV, I've had that request for indie films/shorts/whatever. I don't think they want to hear my reasons for why 8 wireless mics is probably not needed, because the director has demanded it. That's a lot of conversation to get into explaining how off the mark they are. Instead of trying to "politely educate" them, and probably offending them, my usual response is a brief "I can't do that, and I don't know anyone with that much gear that would work for those numbers". I'm not condoning being a jerk by any means, but I also understand the now frighteningly common "we have filled every crew position except sound..... So this is all the money that's left for that department" thing.
  19. That's 100% true. When I get those calls I say "I can't work for that rate", and *possibly* sometimes add "... maybe a student is more what you're looking for". Usually that leads to a conversation I don't have any interest in having. If i don't get off the phone fast, it ALWAYS turns into "well can you give me the names and contact info of a few mixers with credits and our required gear that will work for this rate?" It's just easier to get off the phone faster and go back to your life. It's like trying to talk to the religious people that go door to door. The more you say, the harder it is to get rid of them. I've had 2 of those just this week.
  20. BTW I have no problem with no-budget documentaries or films. That's a different world than posting a crew call on a "looking for film crew" sites, and having unrealistic demands of the crew experience and equipment. Maybe there should be different "I need crew" type Facebook groups for productions that won't even pay minimum wage, and want your gear for free. I have friends that made a great documentary with basically no budget. As in they literally could not tell you what it cost because they did it while working minimum wage jobs, and added the traveling parts as side trips to when their bands were on the road. It was something a few friends worked on for a few years, and it was a fascinating subject. At the time I knew them because our bands played shows together. Had I known they were making the documentary, I would have donated time and/or equipment. It's a subject I had been interested in for a good while too. In the end, their no budget documentary project actually got into Sundance and won an award. To be honest, I don't know if a budget would have even made it a better project in the end. Maybe it would have sounded a little better. It surely would have been done faster and been less painful to the guy wearing the hats of director/editor/composer, but in the end it was a great subject and he knows how to tell a story that has you hooked.
  21. To be fair, I can feel their frustration. I all but gave up doing narrative work because it's such a mess. For example, maybe 5 or 6 years ago it seemed like a non-union indie with an approx $300k-$500k budget (heck, up to $1million) was paying mixers $500/12 for labor AND kit. Boom ops were getting $125-$175/12. There were people trying to pay less, but that was about as good as it got. in the last 3 years or so almost every call I got for mixing a "feature" was less, and many started doing this weird thing where they want to pay something in the ballpark of "all in for $3,000". When questioning them on details it was "probably 5 or 6 day weeks" and "we think it'll be 20-25 shooting days, but we will see how it goes". This isn't even having to argue that over 12 hours will be OT rates, this is flat project rates coming out to about $120/day. they also throw in the "well if you need a boom op, you'll have to pay them out of your rate". I sort of tried having those talks, but got nowhere. Somebody took the job for some terrible rate. I can't imagine they negotiated from $120/day up to even $500/day for a mixer and something to get a boom op to even show up. Maybe it's better in NY/GA/CA, but not around me. If that's current indie narrative work in my region, I'll keep doing reality for now and get paid a professional rate.
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