Trew Audio Flow

Archive for Production Stuff

Communications options for the CL-9
Since the Sound Devices CL-9 hit the blogosphere, views and how-to’s have filled the web.  Instead of rehashing what the CL-9 is designed to do, I’ve decided to take a practical approach to using the communications section of the new control surface. If the boom operators wish to listen to the same mix as the sound... Read full entry »
February 26, 2010
Local tv station chooses Trew to deliver multiple Lectrosonics wireless systems
WTVF Cameraman Nathan Sharkey and his newly outfitted camera Over the years WTVF–NewsChannel 5 in Nashville, Tennessee, has kept a close watch on emerging and evolving technologies and is often among the first to adopt systems that will truly aid their mission of news gathering and delivery. NewsChannel 5 was the first station in Tennessee... Read full entry »
November 9, 2009
Windscreens and Mounts: The Basics
The human hand can be a reasonably good suspension device. In most film and video production situations hand-held mics are not effective, one arm is too short. We need to mount the mic on a rigid pole. The rigidity of the boom pole is where the problems begin. Boom poles transmit vibrations rather well, some better than others. Many clever people have spent decades trying to build a device, a shock mount, to put on the end of the boom that will do what our hands can do so easily. Read full entry »
October 8, 2009
Deva External Slate Mic Modification
Trew Audio is now offering a modification to the Deva recorder models 4, 5, 5.8, 16, and Fusion. This mod adds an external slate/com mic input and a headphone jack to the left side. The mod is structurally non-invasive, as only existing panel holes are used, and the mod is easily reversible to the original... Read full entry »
August 17, 2009
Let’s go to the hop, (oh baby)
I get asked more and more every day about camera hops –what’s available and what’s coming. It seems as though we have run around the circle in audio from double system Nagra to recording direct to camera and now back to double system on hard disk recorders (and with a lot more channels).  It still remains... Read full entry »
August 17, 2009
Yes, we should EQ on set
Should EQ be avoided on the set? Only when it is not needed. I’ll preface the following explanation by stating the obvious: Everything about a production Sound Mixer’s job should be done judiciously, whether it involves the use of faders, limiters, choice of microphones, how hard to press when writing on a 4-part sound report, and... Read full entry »
February 20, 2009
Doing a Deal
Rick Patton on the set of “Bird on a Wire” in Victoria, British Columbia. Many young people working in the movies start off with a certain disdain for business. For them it’s about the work, about the film. Money is necessary but it’s not why you do it. Young filmmakers routinely beg, borrow, and steal to... Read full entry »
January 22, 2009
Set Etiquette and the Chain of Command - Part 2
You have a responsibility to deliver good sound. It doesn’t matter whether you are the Production Mixer or the EPK guy. There will be times when you need something from the people around you, like quiet. It may be that the people around you will not give you what you need, even after you ask... Read full entry »
November 28, 2008
The Four Horsemen of Troubleshooting
When the crew is looking at you, the only person who isn’t ready to roll, you may hope for the Apocalypse. Alas, it is time to start troubleshooting. Checking cables for shorts, gear for correct settings, battery life, and the source of that stupid hum can drive you mad. One of the most difficult... Read full entry »
July 31, 2008
A Tale of Two Productions, Part 2
Public transportation… I love it. Partly due to my roots in a small town, part gas prices, and part Nashville barely has any. So on a recent trip to Chicago to see the sights from the Sears tower, and visit some of my wife’s family in the suburbs, we used the L, city buses,... Read full entry »
July 18, 2008
Older entries »