Issue link: https://digital.copcomm.com/i/778398
36 W I N T E R 2 0 1 7 C A S Q U A R T E R L Y The Mix-8 is a control surface for the Deva that allows you sliding faders and the ability to control the pre- amps. This is not possible if you are plugged directly into the Deva with- out having to go through the touch screen menu to adjust input gain. On this film, I really wanted quick trim control due to what I felt could be wide dynamic range within scenes. It's not easy incorporating a Mix-8 panel into a bag rig so I was able to get a piece of aluminum machined that would fit into my bag rig and keep the Mix-8 at an angle easy to mix at. Now, once I added all those elements, my rig was 40 lbs in weight. I would like to applaud all those reality-show recordists who wear those rigs all year be shot single camera, a novelty in my record- ing history. Of course, I do hear how Chris Nolan and the Coen brothers love to shoot single camera. I could, until now, only imagine that possibility. N ext problem, since we were digitally shooting with an ALEXA camera, the DIT would need power for his set rig and that would mean AC power. Our DIT operator, Arthur To, was able to come up with a solution which meant that he would keep his DIT station well away from the set—several miles away—and that his on-set setup would be battery powered. The camera department also had to carry enough batteries to keep going through the day without resorting to have AC power for their charging stations. Every so often, I would hear the sound of a portable generator about 600 feet away when our second AD would try to print some call sheets and would turn it on hoping I wouldn't hear it if I didn't see it. Wrong … I could hear anything within a mile. It was remarkable! The only time that we would need power would be for the scenes shot at night. For this particular set, we were able to be in a position where the Genie would be at the furthest distance we could budget for cable-wise. We were also lucky enough to have a particu- lar set in a valley that was able to buffer the Genie somewhat. On these scenes, I also used the Digital Schoeps CMIT. I felt it would be a great tool when dealing with the effects flame bar and the generator. Regarding my own rig, I wanted to be able to use the Mix-8 with a Deva 5.8. IFB feed for my boom ops and a Comtek for our director and producers. I also had a Lockit box on hand at all times. My radio mics were Lectro SM's and Sanken COS 11-D's, with a portable Lectrosonics field venue system. Everything was being powered by NP-1's via remote audio's BDS box. For my shotgun mics, I used two Sanken CS-3's in a Cinela piano mount, which I have to say is truly amazing in the most difficult wind situations. Dialogue scenes on the boom were always hard wired, and for the interior work that we had, I used Sennheiser MKH 50's. Boom operator David Raymond and Peter Devlin CAS