[Michael Cowan]

Ty,

Thanks for weighing in. I apologize for turning this into something larger than just another run-of-the-mill post on CC.

I understand that everyone was simply trying to be helpful, and that’s clear to me.

Often, writing fails to capture an expression of tone and it’s possible to mis-interpret it. I’ll give everyone the benefit of the doubt and say that I have done that.

I re-read the thread and realize that in the first post I never asked specifically for an equipment recommendation and that’s my error. It was in the third post, my reply to Richard, where I asked, “Which is a better solution, do you think? What kind of mixer should I spec?” did I get to a specific question.

In the first post I said that, “I’m not principally an audio guy,” which is accurate, but could suggest to the reader that I know absolutely nothing about sound recording, editing, mixing, etc. So, I’m aware that I set a precedent in the readers’ minds. Again, my error.

I took the suggestions seriously (Noah, thank you for the referral, I will definitely follow up with Iris or Veronica) and disagreed with the delivery.

Maybe I’m being hyper-sensitive here and if so, again I apologize. Everyone has their individual style of expression; over in the engineering and integration forums, Bob Zelin is not exactly known for his gentle approach, but he’s upfront about his direct delivery.

Ty, you’ve asked me what you could do better. I want you to know that I’ve been thinking about this thread for the past several days; it’s been on my mind. What I’ve concluded is that I could have done a much better job asking the questions than I did.

So, I’ll take the responsibility off of the shoulders of those who replied and put it on mine. Given what I requested and how I expressed myself, I’m solely accountable for the results. It’s incumbent upon me to post with greater care.

Thank you one and all, once again.

Sincerely,

Michael Cowan

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Thanks for all the feedback, but I must admit I feel a bit ganged up on. I posted with what I thought was a pretty straightforward question and wound up with a set of replies suggesting that I’m an idiot and I should be begging the next, nearest audio engineer to please come and help me because obviously I couldn’t possibly figure it out myself.

I’m not a total novice at sound recording, but I’m not a gearhead in the audio world either. I’ve been doing production for 30 years, so I consider myself to be relatively seasoned.

Many of the sound guys I know are pretty prickly folks and frankly I like that. They’re meticulous and if things sound sub-standard they’re not shy about it. But they’re never quick to imply that if I don’t understand something they’re doing that I’m not worthy of their knowledge, insight or experience.

As a result of this thread I am looking into hiring someone to do the audio, because I will have more than enough to deal with on this project. So, thanks for that.

But, along with the knowledge, experience and insight you’ve provided, I request you use a little tact.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Good catch on Buddha! Thanks.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Mark,

That’s a pretty interesting approach! These aren’t my photos, I’ve never seen the room, but the windows look like they’re either below grade or surrounded by small retaining walls. I’ve attached two more pix.

m.

gardenstudioviewtowardsouthwall.jpg

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Bill and Rick,

Yes, it’s not easy, because it’s a big room and things are further complicated by the solar power source and the instructor’s initial desire to not use any lights at all. It took some convincing to have him understand how much the light will change over the course of a day. He’s okay with the passage of time throughout the day; my goal is to provide adequate, general illumination so the pictures look good. That camera (it looks a bit like R2D2) can get an image at 3 lux with the gain cranked to +36dB, but this isn’t an episode of Cops. If I can get 30-50 ft-c evenly across the front of the room and the rest of the room up to 20-30, that should be enough.

Bill, your suggestion of putting daylight CFLs in the china balls is one I will take and maybe I can get away with using daylight 2x4s on the presenter to not have the rest of the room appear to be in relative darkness. I’ll cover the windows with grid cloth or muslin and let some natural light filter in.

Thanks!

m.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Peter,

Thanks for your reply. I realize I’m running a risk by considering I can handle this myself and I won’t fool myself into thinking that shooting in a remote, foreign locale isn’t risky, I know it is. But, I’m trying to balance all aspects of this project. Perhaps the right thing to do is hire a pro (probably a local pro), if I can find one with competence and some of the necessary gear.

If I can’t get a local professional I will likely have to go the one-man route for budgetary concerns. Our schedule is over nine days, with a two day break in the middle, and this occurs two times. I would have to pay for an idle pair of hands for several days, and that’s not in my budget.

In the event that I can’t get a local mixer/recordist, what kind of equipment should I rent?

Thanks,

m.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Richard,

Thanks and good point. Because of the way this is scheduled, I’ll need to have the gear with me for nine days in May and nine in July, so essentially four weeks. I may be able to get a break on rates as I’m working with an organization who provides high-end gear from LA to this area of Mexico and they’ll take care of any customs issues.

That said, I’m willing to spend a bit more for something that’s going to be sturdy and reliable, so if Lectrosonic or Zaxcom is the way to go I’ll spec those. Which is a better solution, do you think? What kind of mixer should I spec?

Thanks,

m.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Hi Dave,

Thanks for your reply!

Your reasons for not doing a boot RAID1 disk make sense and I was eager to get the darn thing back online, so I did do it that way. Hopefully, no harm, no foul.

I haven’t noticed a huge difference in performance, but if I do, I’ll probably scuttle it and go with a single drive and ghost it with CC or something like that.

Ciao!

m.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters

[Michael Cowan]

Matthew,

While what John says is true about big sets needing big lights (frequently small sets need big lights, too), there’s nothing wrong with buying some lighting gear to experiment and learn. And, if you can’t afford an Arri kit, only some Lowell lights, well that’s not a bad place to start.

Regardless of whether you buy gear or not, get out there and learn. As John said, find the local stages and rental houses and get to know the people who make their living, lighting. Better yet, get some experience as a grip electric working for the local houses. You may have to start out as a PA or an intern, but be persistent. Yes, you can learn by buying some of your own gear, but why not learn on someone else’s budget? Also, buy a copy of Harry Box’s “Set Lighting Technician’s Handbook.” For $30 US you’ll have a much greater appreciation for lighting equipment, capabilities and application.

And, lights are just the beginning; there’s grip equipment, power distribution, trucks to transport everything, and skilled personnel to make it work well.

Best!

m.

Michael Cowan
Heartbeest Productions, Inc.

– Everything Matters