cooper bags
Matthew
it into a larger bohemoth ( audio organizer). If anyone has the
original discontinued Cooper Bag ( made by Vartias) or an old
Kangaroo Pouch that fit their Nagra that they want to get rid of, let
me know.
Matt
Simon Bishop
We have a company here in the UK called K.T. Systems. I just rang them and
they make a bag for the CS104. Their system is very good in as much as they
make the bags for the mixer, then a system of velro + clip on pockets. The
whole thing kind of stacks up, so if you want just the mixer you use just
the mixer bag, you can then add extra pockets for ext battery, radio mics, a
dat recorder etc... so it is as small or large as you want it to be.
Ian Fraser is the man who runs the company, and he can be emailed at:-
If you want to phone him he is on
In fact I've just discovered that they now have a website which is at
Good luck,
Simon B
"Matthew" <mma...@earthlink.net> wrote in message
news:9da74168.0302...@posting.google.com...
Martin Atias
I am the original manufacturer of the Vartias Bag. Sadly, it has been out
of production for too long. Many people (including yourself) have called
to plead for new bags (Thanks!).
I hope to be able to report that production will start up again soon. I
will be working on bags for the CS104, the SD 442, and the new SD302 to
start. I hope to have samples for NAB.
News will be posted on our web site, and since so many people have asked,
I will also announce here on RAMPS.
Thanks for the feedback and encouragement,
Marty Atias
ATS Communications
Jason Porter
What about a custom made bag? I know of someone in Toronto who makes
cordura bags for gear (he's supposed to be cheaper than Porta-Brace! and
better built)
-Jason
Ray Collins
mics mixed to one track in a 20 second scene. Glad I wasn't mixing. Is
this becoming the norm?
Oleg Kaizerman
that invented the cinema ones again .we shoot scene in real jail.the scene
was shot in the meeting room were the prisoners are meeting the visitors .it
was a very long space with the thanes in the middle . the prisoners were
sitting on one side and the visitors are coming from the other.there was two
cameras that shoot the sequins from both sides of the net, so each camera
shoot the opposite side plus the background axon on the side of the camera
,about 180 degrees ,the problem was, that was no text written and the actors
were doing improvisation on the spot ,we had about 3 or 4 prisoners each
time plus the same number of visitors ,that the most of them were the
surprise for the prisoners ,some of them were real relatives.( the majority
of the people that working on this show where non actors) .so each time I
wired 3 prisoners plus one or two who played the guards, those who I knew
that will talk and interact with the prisoners.my booman, I sacrificed him
for putting the radios on the" surprise "(the visitors that only director
and the dp knew who are they ,so the bookman went to another room and wired
them ,because he was only person on the set who could do this job) ,his
plaice was taken from one side by the chief gaffer(the lighting was fix for
all shot) and the producer of the show from the other side ,the gay did
about 30 futures in his life and I can say that he did the boom better than
some people that I know.
the set up was sqn from one side,wendt plus fp 33 that was going to one of
the channels of wendt from the other. each side I did stereo trek and send
it to the cameras.each camera recorded 2 treks ,when one track is the boom
mike and the second is the wireless mix .so on one side I had boom and 3
radios and for the second camera I had boom plus one radio from one side and
3 radios and p2 pzm from another side .I was wearing two pars of headfons
that was calibrated for mono signals,so each of my ears was lessening to
different mixer. each shot took about 15 to 20 minuets of pure axon.we shoot
this way about 4 or 5 scenes when the people are changing on each scene
,each scene was shoot twice when the second run was mainly for cut aways and
some things that director wonted to change or to sharp against the major,
first take.the plaice that we shoot was about 25 meters from the main
corridor with real prisoners that shout from room to room. there was a lot
of action noise that came from the real guards, the sound of closing doors
and the sound system of the jail that worked from time to time.the other
problem was with the non actors that came with plastic bags and other
accessories from home,but because they were the surprise nobody told them
that it not the cinema way..because it wasn't the first day of shooting
inside the prison we checked the frequencies of the radio mikes and it
almost was now dropouts on the sound because the jail communication system
(thank you lectro).so for the end I have to say that the scenes were
recorded in 90 present of saxes .the all show (36 chapters of 45 minuets
were shoot in 42 days,12 days in real prison,18 days in close mental
hospital that was shoot as the corridors and the rooms of the prison.the
rest was shoot on different locations that the word sound proof is far as
my country to the big apple,in 42 days I was fired 3 times by the director
and returned to work because no one wonted to take the job ,and that include
his brother that working as soundman for BBC and CNN here in Israel.I
changed the booman every 3 days ,so each of them could rest at least 2 or 3
days before he started the hell ones again.(the average length of each take
was about 10 minutes,95 present of the show was hand held camera)Oleg
Kaizerman(good ears bad english) Israel don't afraid to mix for lunatics
("Ray Collins" <rc...@intergate.bc.ca> wrote in message
news:3E5D5812...@intergate.bc.ca...
Oleg Kaizerman
"Oleg Kaizerman" <kai...@netvision.net.il> wrote in message
news:b3jv8p$1nnoj8$1...@ID-184704.news.dfncis.de...
®obe®to-o
wrote:
>Saw an interesting phenomenon last week. Wide and tight with 7 radio
>mics mixed to one track in a 20 second scene. Glad I wasn't mixing. Is
>this becoming the norm?
Did a few commercials like these..Whats the problem ? Just mix the
whole thing together.
R
BrunoSound
challenge of trying to blend several sources and tests your every mic hiding
technique. No ADR here!
Bruno
Bruno Strapko CAS
Strapko Recorders
Schaumburg IL
Wolf
genious belt (with metal equip support tube) to tranferre weight to the
hips - ther is NO weight on the shoulders. the silly cross your back
straps are the worst for lower back fatigue(=pain!!)... weight is
supposed to be carried on the hips not the shoulders... ask any serious
backpaker, I cant believe the stupid designs out there....
ahh welll
wolf
Matthew wrote:
--
My email address was CHANGED to wol...@attbi.com
this message may contain some deliberate spelling errors
Charles Tomaras
"Wolf" <wolfv...@attbi.com> wrote in message
news:3E644E4E...@attbi.com...
> if you in LA I have a genious Nagra 7" bag (for sale) with even more
> genious belt (with metal equip support tube) to tranferre weight to the
> hips - ther is NO weight on the shoulders.
Can you show us some pictures of the support tube. Is this something you
made yourself. Please share!
®obe®to-o
hello charles, what a brilliant posting you make here. Very good for
everyone.
R ( mirror )
Oleg Kaizerman
lot of good ideas there what can you do with the tube:).
To show the tube, its a very kinky request !!!
Oleg Kaizerman (good ears bad english) Israel- remember the days of bvu 110
"Charles Tomaras" <tom...@tomaras.com> wrote in message
news:bsY8a.303534$SD6.15995@sccrnsc03...
Steve Ravich
llittle time and lots of R.Mics. Finding out what the coverage is or is not
is a problem and wildlines are common.
Steve.
"BrunoSound" <bruno...@aol.com> wrote in message
news:20030227050740...@mb-fz.aol.com...
Mike Hall
Steve Ravich wrote:
> Yep, doing a TV Drama right now the same way. No matching headroom. Very
> llittle time and lots of R.Mics. Finding out what the coverage is or is not
> is a problem and wildlines are common.
> Steve.
Steve,
Best comeback from a mixer in that situation that I've heard: 2nd unit sets up
a tight two shot with dialog. Mixer (one man band) sets a sweet frame line and
stands by.
Just before roll sound, the B camera operator drags in and Ari S on baby legs,
probably with and 18 mm lens and rolls on a wide shot. He yells, "boom up,
you're in my shot."
mixer answers, "tighten up, I'm miking the closeup.".
It's an impossible situation. All you can do is make clear to everyone in the
'food chain' how degrading it is to the close shots. Talk to the picture and
sound editors, sometimes they can move the producer.
Mike Hall
>
>
Douglas Tourtelot
gaffer are running around compromising their nice singles-lighting, you and
I are wiring two actors, vanities are hovering trying to make the
just-moments-before-off-camera look good and all the "cheese" are patting
themselves on the back about how much time they are going to save by running
two cameras. Goddam they're smart aren't they?
D.
"Mike Hall" <mike...@hotmail.com> wrote in message
news:3E65070B...@hotmail.com...
Charles Tomaras
I'd ask the director how long he planned on using the wide shot in his cut.
Will it be up to the first line or the second line of dialog before he cuts
to the close up / coverage for the remainder of the scene!
Hans W.
"Charles Tomaras" <tom...@tomaras.com> wrote
news:mqd9a.317361$2H6.6054@sccrnsc04...
>
.....
> I'd ask the director how long he planned on using the wide shot in his
cut.
> Will it be up to the first line or the second line of dialog before he
cuts
> to the close up / coverage for the remainder of the scene!
>
you're kidding, right...??
Hans W.
Douglas Tourtelot
D.
"Charles Tomaras" <tom...@tomaras.com> wrote in message
news:mqd9a.317361$2H6.6054@sccrnsc04...
Wolf
I cant decide which camera to get.....
wolf
Steve Ravich
This is fast turnaround TV Drama. All the above dialogue is mentioned on a
regular basis but in the end it becomes a day by day proposition. Meetings
go some way to solving the problems but they tend to creep back. Everyone
(on the floor) is aware of the problems and everyone cops thier share, the
Gaffer, the AD's etc all the way to the bean counters that pay the huge
overtime bills!
We just keep chipping away at it :)
Steve
David Waelder
they stole my electronic camera out of my luggage at Paris airport and Air France will not buy me another one. They would have replaced my $ 600 lether jaket though if I only had had one.
I cant decide which camera to get.....
wolf
One writer here recommended taking digital picture of the contents of each case just prior to handing the cases over to baggage handlers. This is very smart; having a record of the contents would, I should think, strengthen one’s bargaining power if something were to go missing.
Someone also suggested making an enlargement, laminating it in plastic and enclosing it the case as a visual record of contents. This also makes very good sense; I expect baggage personnel and others with light fingers might show some restraint if they saw evidence of clear documentation of contents. Of course, documentation prepared in advance would only show normal contents, not anything stuffed in at the last moment. If the photo had labels it might also be helpful with baggage inspection or Carnet verification by illustrating exactly what each item is. Anything that streamlines the passage of baggage works, I think, to minimize shrinkage risk. From experience I know that gear sitting on a pallet waiting inspection for a day or two is much more vulnerable because so many people potentially have access that it would be difficult to accurately point a finger of blame.
Of course, these photos of contents do you no good if the camera itself if stolen. You’ll just have to carry that in your pocket. And ultimately the airlines accept liability for baggage by the pound, not declared value. I made a point of adding my Leica to my equipment insurance policy to be certain of coverage. For a replacement digital camera I recommend the Minolta Dimage X. I received on as a gift and have been having a lot of fun with it. It’s only 2 megapixels and not a camera for serious photography but the pictures are quite satisfactory snapshots. The camera is very small and exceptionally light.
(Wandering a bit off topic here – once I got started I developed some momentum.)
David Waelder
Glen Trew
"David Waelder" <davi...@earthlink.net> wrote in message news:BA8BADE1.7E7%davi...@earthlink.net...
John Rowley
--
John Rowley
in...@soundequip.com.au
www.soundequip.com.au
"Glen Trew" <gl...@trewaudio.com> wrote in message
news:b460vs$a...@dispatch.concentric.net...
Re: cooper bagsTake a picture. Put the camera in the bag, Put the flash card
in your pocket.
Wait a minute... How do you take a picture of your camera?
GT
"David Waelder" <davi...@earthlink.net> wrote in message
news:BA8BADE1.7E7%davi...@earthlink.net...
On 3/4/03 7:43 PM, in article 3E65749D...@attbi.com, "Wolf"
<wolfv...@attbi.com> wrote:
they stole my electronic camera out of my luggage at Paris airport and
Air France will not buy me another one. They would have replaced my $ 600
lether jaket though if I only had had one.
I cant decide which camera to get.....
wolf
I'm sorry to hear of your bad experience at the Paris airport. (Although
my sympathy for anyone who gets to travel to wonderful places like Paris is
a bit of a stretch. I'm inclined to agree with the columnist who, to protest
French reluctance to support war in Iraq, pledged to pour out all his French
wine...a little bit at a time..into stemware.)
(Wandering a bit off topic here - once I got started I developed some
momentum.)
David Waelder
Wolf
in terms of airline safety: what's easier putting something in a bag illicitly or taking something out of the airport???
Nancy Reagan sais: Just say NO - dont fly :-)
w