cmassey Posted February 18, 2009 Report Share Posted February 18, 2009 "YES, I too regret ever selling my NAGRA III! I often look on E-PAY for one, just to have it sit on the shelf, but just don't pull the trigger. It was my FIRST recorder... Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted February 18, 2009 Author Report Share Posted February 18, 2009 Phil, Hey Phil, Very cool post! I actually reverted to the same approach for a music doc project I did in Brazil a few years back, where we weren't shooting with full timecode systems. I was sort of wondering if anyone else was still using them. Back in the day, I did a fair amount of doc work, during which time I built a somewhat larger device that used discrete LED's for the display, which were easier to read at a distance and out of focus. I'll have to see if I can dig up some old production photos sometime. Now, if you really want to date yourself, does anyone remember using the Arri BL's and Eclair NPR's with cable sync and the bloop light built into the gate? (Still have my Nagra III as well-maybe in need of some new caps and re-bias by now!). --Scott D. Smith C.A.S. I did do jobs with sync cables--although by that time the technology existed for Xtal everything, but some producers didn't want to pay for it. We also used cables even with Nagra 4.2s to do "pilot-supression" slates for long interviews. We were so happy to be done with sync cables.....and then video happened..... Philip Perkins Quote Link to comment Share on other sites More sharing options...
Scott Smith Posted February 19, 2009 Report Share Posted February 19, 2009 I did do jobs with sync cables--although by that time the technology existed for Xtal everything, but some producers didn't want to pay for it. We also used cables even with Nagra 4.2s to do "pilot-supression" slates for long interviews. We were so happy to be done with sync cables.....and then video happened..... Philip Perkins Not many people know about the pilot-suppression method. I think it was more common in Europe than it was here. I did a long, involved restoration project a few years back (shot in Brussels) which had numerous rolls of 1/4" that had been shot with that technique. The real key to making it work was to make sure that the resolver was dead-on speed during transfer, so that there would be no speed drift or wow during the suppression period. Now, if you really want to date yourself, anyone remember having to deal with interlock systems used to drive camera and sound together? (Those guys are probably all long gone by now, but I'm sure the pain of hauling around 6 conductor 14 gauge interlock cables lives on). Quote Link to comment Share on other sites More sharing options...
Scott Smith Posted February 19, 2009 Report Share Posted February 19, 2009 Hey David, great picture. Thanks. In retrospect the job seemed so much easier then. CrewC And you know what? It was. --Scott Quote Link to comment Share on other sites More sharing options...
Rob Stalder Posted March 1, 2009 Report Share Posted March 1, 2009 I remembered I had this - a brochure for a blooper slate made in Australia - round about 1980 (maybe). David Glasser may be able to help me on that. I bought one, so as I am a hoarder it must still be around, somewhere. I used it for quite a few years & eventuall broke it - severely. It was very smart looking though - I think the brochure is almost as big a treasure as the unit itself. RS Quote Link to comment Share on other sites More sharing options...
David Glasser Posted March 1, 2009 Report Share Posted March 1, 2009 I can't remember when you bought your blooper, Rob, but I do remember seeing them at Brig. In those days Mike Moore at Brig Electronics did all my servicing (plus that of just about every sound recordist in Sydney as well !!) and he was a very inventive technician. He designed a pro (?) cassette recorder with a pilot track. It is uncanny how his logo is almost a mirror image of the present day Sound Devices logo. Regards, David Glasser Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted March 1, 2009 Report Share Posted March 1, 2009 It is uncanny how his logo is almost a mirror image of the present day Sound Devices logo. Regards, David Glasser Thanks Rob for posting that brochure ... I think I actually remember seeing one of those at some point (I thought it was British but Americans make that mistake all the time as you know). I was also struck by the logo for Brig Electronics --- it jumped right out at me, Sound Devices! - Jeff Wexler Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted March 1, 2009 Author Report Share Posted March 1, 2009 This is a lot more sophisticated than what I have. I have never seen a blooper that incremented the take numbers automatically--pretty cool. If you find yours I'd love to have info on it and pixs. I naively think that this kind of thing (with an audio beep output) could become a standard way of working certain kinds of jobs again, given the current audio and video gear available and the way edit systems work now. Philip Perkins Quote Link to comment Share on other sites More sharing options...
Bash Posted March 1, 2009 Report Share Posted March 1, 2009 I was recently given this - an original, British, MacMarker!! It worked by radio, and as I understand it when you pushed the button on top (there were, in fact, two, front slate and end slate) it would show the slate number and some kind of flash, whilst sending by radio to a receiver, a voice that read out the slate number and then some kind of sync sound. I am currently trying to get it all to work, as there is some damage (ageing) to a ribbon connector that makes the buttons work to set the numbers. I will let you know if I can get one working. They were invented by Sandy MacRae, a British recordist, in the 70s I believe. They never really caught on, as TC came just after them, and somewhat negated them. Kindest regards, Simon B Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted March 1, 2009 Author Report Share Posted March 1, 2009 That's very interesting--if you get a chance I'd live to see a photo with a size reference in it. Is the "slate" bigger than Denecke's mini-TS? So the idea was that an assistant camera person would have the slate and the recordist had the radio receiver? Philip Perkins Quote Link to comment Share on other sites More sharing options...
Bash Posted March 1, 2009 Report Share Posted March 1, 2009 Hi Philip - I'd guess that the slate is about 12"x8"x2" - approx. Quite heavy also, but it was cutting edge stuff at the time I am sure!! Kindest, Simon B Quote Link to comment Share on other sites More sharing options...
soundtrane Posted March 2, 2009 Report Share Posted March 2, 2009 Dear Simon, wonderful to see such this piece of history preserved so well! -vin Quote Link to comment Share on other sites More sharing options...
David Glasser Posted March 2, 2009 Report Share Posted March 2, 2009 Does anyone remember the KingKlapper? It attached to the front pouch of a Nagra, was very, very heavy, and had several windows with numbers rotated by side controls. It had spring-loaded sticks plus a push button to operate internal Nagra bloop tone. I used the sticks mostly, but the bloop was perfect for noisy locations. This photo is from around 1978, the subject is champion boxer Aussie Joe Bugner. The shoot was at Woolloomooloo Police Boys Club in Sydney and the cameraman is Laurie Gilbert. For many years Laurie's sound recordist was Rob Stalder, our world- renown cart maker !!! Best wishes, David Glasser Quote Link to comment Share on other sites More sharing options...
Bash Posted March 2, 2009 Report Share Posted March 2, 2009 And wasn't there a 'Smart Slate' which I believe a pal of mine might have one of? Also - I think that Joe Bugner was mostly british, before he moved to Australia to retire and then do his comebacks. That said I think he was born in Hungary!! Kindest regards, Simon B Quote Link to comment Share on other sites More sharing options...
Daniel McIntosh Posted March 4, 2009 Report Share Posted March 4, 2009 Slightly off topic. I saw "A Woman Under the Influence" last night, and who was the sound mixer? Michael Denecke. http://www.imdb.com/title/tt0072417/ Quote Link to comment Share on other sites More sharing options...
Rob Stalder Posted March 5, 2009 Report Share Posted March 5, 2009 Very impressive pose there David. Here is a closer pic of the "King Clapper) s*** it was heavy. I was in a cemetary in Los Angeles at the time... (with Laurie Gilbert)... RS Quote Link to comment Share on other sites More sharing options...
Bob Marts Posted March 5, 2009 Report Share Posted March 5, 2009 Scrounging around through my old gear, I found my "Castanet Slate". I made this little slate in 1980 for documentary work. I made a little holster for it that attached to my Nagra shoulder strap. It was definitely low-tech. Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted March 6, 2009 Author Report Share Posted March 6, 2009 Scrounging around through my old gear, I found my "Castanet Slate". I made this little slate in 1980 for documentary work. I made a little holster for it that attached to my Nagra shoulder strap. It was definitely low-tech. It is also brilliant. Philip Perkins Quote Link to comment Share on other sites More sharing options...
Rob Stalder Posted March 6, 2009 Report Share Posted March 6, 2009 Scrounging around through my old gear, I found my "Castanet Slate". I made this little slate in 1980 for documentary work. I made a little holster for it that attached to my Nagra shoulder strap. It was definitely low-tech. Too good - I have never seen that before. RS Quote Link to comment Share on other sites More sharing options...
chris_bollard Posted March 6, 2009 Report Share Posted March 6, 2009 I remember the last time I used a bloop slate, and I remember how hard it was to get one. I unfortunately I don't have any pix. It was early in 1990s and was making a Rock-u-mentary (remember those) for Lenny Kravitz (Are You Going My Way album). We were shooting on Super 16mm and DAT in the early days timecode on film, when it didn't always quite work as planned. There had been 3 multicam concerts at Wembley where the advice had been that the timecode on film was enough so no additional sync reference was needed (to keep it low key for the audience). So no slates, timecode slates or displays). Unfortunately the system (Arricode, I think?) didn't work as advertised. So we had 1000s feet to be sunk by sight. So for the doco section we decided to go old school and use the bloop slate. I had one I had made at Film School but I tracked down one the same as Phil's PSC. I remember how fancy the advancing LEDs were. Worked as advertised and the doco footage was in sync. I also remember Mr Kudelski's unit; just a button and a big light bulb. Was also considered fancy as it DIDNT have the osc. inside, so no batteries needed and little to go wrong. Don't really miss having to do all those reel changes. Quote Link to comment Share on other sites More sharing options...
Erick Posted July 10, 2009 Report Share Posted July 10, 2009 I'm not sure but, is it the same than the digislate by PSC? by the way, actually it's a discontinued item, how much it cost of second hand? Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted July 10, 2009 Author Report Share Posted July 10, 2009 I'm not sure but, is it the same than the digislate by PSC? by the way, actually it's a discontinued item, how much it cost of second hand? Mine, the one pictured at the top of the thread is WAY discontinued, like for about 25+ years. It would probably be very tough to find the parts involved, especially the numerical switches and the display. Philip Perkins Quote Link to comment Share on other sites More sharing options...
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