[Bob Cole]

One more candidate: Re:Vision Effects SmoothKit. Would this work as well as EMA/BB?

[Bob Cole]

[Jerry Hofmann] “She told me that she hadn’t looked that good in 15 years… it works man. It’s magic.”

That’s it, then, Jerry.

I’m gonna get it and use on myself.

Bob C

[Bob Cole]

For a good laugh about the interaction of sound and camera, among other things, see “Living in Oblivion,” a funny film about an indie production.

Bob C

[Bob Cole]

Thanks, all. Love the idea of the feathered mask. I had an idea for keeping the baby looking into the camera: teleprompter showing a cartoon (or showing Mom?).

I have this awful sinking feeling that they’re going to go for this….

Yours in cheesiness,

Bob C

[Bob Cole]

[Heather Walters] “The actress will speak in front of a greenscreen, so no worries about scenery at all.”

I know this isn’t the appropriate forum for this, but if you haven’t done much greenscreen work, that will be another issue. You may want to search some other forums about how to execute a chroma key shot.

You’re not alone by any means. As video cameras and editing systems have come down in price, lots of companies have started “in-sourcing” their production work. Your EX3 camera is a magnificent machine for creating images, and nobody will be able to tell what computer/software you’re using to edit. But audio tools are a whole different story. Your boss may not notice any inadequacies; you may be lucky in terms of the audio environment; and a cheap mic, direct into the camera, may work.

But if success is absolutely critical, hiring a sound recordist is an extremely business-like and rational thing to do — CERTAINLY the first time. Rarely do sound recordists use all $12000-up in their kit on a shoot – but you’ll be able to observe WHICH tools are appropriate for your “studio” and your blocking, THEN buy more appropriately. The most essential tool in the whole kit may turn out to be the sound blankets, and they’re cheap. The knowledge you and your company will gain: priceless.

In a few months, maybe you’ll get sick of this company, become a freelancer like many of us, and start wondering why so many companies are in-sourcing their video/audio work.

Please let us know how it turns out. Good luck.

Bob C

[Bob Cole]

Sounds as though I’ll need either several pads or a switchable. Because I have to travel by air a lot, I need as compact a kit as possible. Should I buy a switchable pad or is it better to have separate pads? I saw some criticisms of the Hosa variable -20/-30/-40 pad on B&H.

I have a -10db Whirlwind XLR inline attenuator/pad. Can I stack the pads, i.e. travel with just the -10db Whirlwind plus, say, the Audio-Technica AT8202 -10/-20/-30, and add the -10db Whirlwind to have the full range through -40db?

[Bob Cole]

Thanks for the very informative post. Joel, it sounds like you have positive experience with rechargeable AA’s. Care to share a brand name?

Bob C

[Bob Cole]

[Richard Crowley] “give them to friends to use for their flashlights”

Of course! I have more AA’s than I’ll ever need for my flashlights, but I can make them available via a community list-serve.

I’d really like to get rechargeable AA’s, but from what I’ve observed and heard (from this thread as well), they aren’t ready for prime time.

And the suggestion about alkalines is a good one. Thanks.

Bob C

[Bob Cole]

[Richard Crowley] “the battery starts out at a lower voltage”

What I feared.

I am primarily a shooter, so have to deal with audio much less than most of you guys. What do you do with that mound of slightly-used batteries which are just fine for average use, but NG for professional applications?

[Bob Cole]

[Mark Barroso] “Why not have the flexibility of a selectable attenuation?”

Don’t know – that is my question. Is selectable attenuation worth it? If -30db will always work, I could live with the lack of flexibility.