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Found 7 results

  1. Hello, I am working on a travel show that has me going all over the country only spending a day or two in one area. I am using four channels of WisyCom (470 - 640) wireless for talent, two Sennheiser G3 as hops (mono to two cameras), and Comtek 216's. With all of this wireless, I am trying to find the best practice to coordinate frequencies in multiple locations quickly and efficiently. For the first week out it was a lot of receiver scanning in local hotels the night before the shoot and adjusting accordingly on location the next day but I'm sure that I am not doing the right thing. Any advice that anyone could give me would be hugely appreciated. This amount of wireless is relatively new to me as I only recently was fortunate enough to get the work that could require, and pay for, a large expansion of my kit. Thanks!!
  2. Hello, I originally posted this in Current and am reposting here in Workflow. I am working on a travel show that has me going all over the country only spending a day or two in one area. I am using four channels of WisyCom (470 - 640) wireless for talent, two Sennheiser G3 as hops (mono to two cameras), and Comtek 216's. With all of this wireless, I am trying to find the best practice to coordinate frequencies in multiple locations quickly and efficiently. For the first week out it was a lot of receiver scanning in local hotels the night before the shoot and adjusting accordingly on location the next day but I'm sure that I am not doing the right thing. Any advice that anyone could give me would be hugely appreciated. This amount of wireless is relatively new to me as I only recently was fortunate enough to get the work that could require, and pay for, a large expansion of my kit. Thanks!!
  3. Hey Guys! Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs: Equipment: CAMERAS: Canon 5Ds Sony FS700s SOUND: SD 664 CL6 8x Lectro UCR411a 8x Lectro UM400 8x COS11 2x Senny G3s (backup wireless) Senny MKH60 4+ Røde Mics BDS & NP1s There are 2 main setups that I was concerned about: SETUP 1: 4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car. QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I will be in one of the cars) I don't want to rely on the wireless for the primary sound. My solution: Røde mics on each 5D? I know they are not the best quality audio wise, but I don't see any way around it. SETUP 2: 4-8 people in a restaurant for a taste testing scenario. Multiple cameras. I will wire up everyone, but I also wanted to have a boom going for ambience. I won't be able to get it in the shot. ----- The production wanted all ISOs, which is fine, because I have 12 tracks to work with with the CL6. In standard reality (in all your guys experience), does post want a 2-mix primarily or ISOs? I am not the most experienced mixing on the fly, so I would prefer ISOs as well. Just wanted to know how the real people do it. This question may seem dumb, but hey, how do you keep track of 8 people simultaneously?! Keeping consitent levels without auto mix? Wires. To hide or not to hide? Not having to hide the lavs would speed up the production two-fold, and I wouldn't have to worry about clothing shenanigans. Do most reality productions care if the lav is hidden? Should I just ask if they care? Power. How long do you think I will be able to run my bag off of 1 IDX NP-L7S (14.8V/71Wh Lithium Ion)? I am powering 8 UCR411s and my SD 664. I will probably be rolling all day, and I have 4 batts to work with. Any other tips would be greatly appreciated! I have never worked with this many simultaneous tracks before so please let me know the best way to stay on top of everything. -Ryan
  4. unreasonable expectations to be investigated ?? well sort of... " The New York City Council will hold public hearings June 25 to explore allegations of “sweatshop” working conditions at reality TV shows shot in the city. The overwhelming majority of nonfiction shows shot there are nonunion, with many workers complaining about long hours without overtime pay and no health benefits. " The WGA and DGA are on this, but what about IATSE and NABET ?? http://www.deadline.com/2014/06/new-york-reality-tv-working-conditions-city-council-hearings/
  5. Hi I'm looking to upgrade my radio system and Im favoured towards 2 Lectroconices systems. Most of my work is documentary and reality based shows with a basic bag kit of 2 to 3 wireless radio mics. I'd appreciate advice and opinions from current Lectrosonics users, it's a big investment after all!! Im guessing the advantage of the SMQV is the longer battery life over the SMV. But it seems to me this is really only an advantage when using the higher power outputs. Is longer battery life a better option than smaller size? Then... are the LMa or UMa a better option than the SMV or the SMQV? And if so why? Now receivers? One SRb5P two channel receiver? or two UCR411a receivers? Thanks in advance for your opinions... greatly valued as usual Mick
  6. Hey guys, I need to replace myself on a reality gig in Grand Rapids, Michigan this Saturday. I am actually a Chicago local, so I don't really know anyone in the area. The rate is $450 and gear is provided. If you are out of town, they aren't doing mileage, but will pay for one night in a hotel. Please PM me your contact info. I would like to email the production company in about an hour and a half. Thanks, Ben Stockton
  7. Hi everyone. I have a gig that I am not going to be able to finish because of double booking. I have a 4 day Reality Shoot in Packwood Washington available. They shot the whole month of July with me, and need to go back for some pickups. You will have an A2/2nd Mixer who knows the ropes and can help out with anything you need. Great Guy! They will be blowing up a 300 foot mountain with dynamite. Should be fun! Please contact me @ 818-359-1348 if you are interested. Great people - and copy, credit, meals.....just kidding! $550 a day. We can talk equipment. MUST know Zaxcom. Lectro will NOT work on this job. I can explain when you call. ~Thomas Popp Popp Sound LLC 818-359-1348
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