Clean, consistent and intelligible audio and lighting gear

Full audio gear, multi-talent, multi-cam wireless shoots with TC. Offering full LED / tunsten light kits and a 5 seater SUV Mitsubishi Pajero with big trunk, AC power and luggage rack for more gear.

 
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MULTI-TRACK RECODER: Sound Devices 633 6ch-input 10-Track TC, Wingman Connect wireless remote

SHOTGUN MICS:  Schoeps MiniCMIT Miniature Shotgun, Sennheiser MKH 70 Long Shotgun, Sanken CSS-5

WIRELESS MICS: DPA d:screet 6060 (1), DPA 4060 (3), Countryman B6 (1), Sanken COS-11D (1), Tram TR50 (1), Sennheiser ME 2 (2), Sony ECM-V1BMP (2)

TALENT WIRELESS: Lectrosonics SMDWB (2) with Lectrosonics Src Dual Channel Receiver, Lectrosonics LR/LT Wideband Wireless (1), Sennheiser Evolution G3 100 (2)

HANDHELD MIC: Electro-Voice RE50B - Omnidirectional Dynamic Shockmounted ENG Mic

STEREO and M/S MICS: Oktava MK-012 matched stereo pair, Ambient Emesser ATE 208 – Small “figure-of-eight” converts my boom into an M/S stereo system.

Lectrosonics SMWB  (2) with  Lectrosonics Src  Dual Channel Receiver.

Lectrosonics SMWB (2) with Lectrosonics Src Dual Channel Receiver.

In Japan, digital slates are NOT used and the ADs run the slate. I was the associate producer for a Japanese feature film called Samurai Marathon directed by  Bernard Rose  ( Candyman ,  Immortal Beloved ) and DPed by  Takuro Ishizaka . We needed a slate as post pro will be happening in LA, so I bought one and used it. Anyway, that's how I got my slate.

In Japan, digital slates are NOT used and the ADs run the slate. I was the associate producer for a Japanese feature film called Samurai Marathon directed by Bernard Rose (Candyman, Immortal Beloved) and DPed by Takuro Ishizaka. We needed a slate as post pro will be happening in LA, so I bought one and used it. Anyway, that's how I got my slate.

5 Seater Mitsubishi Pajero SUV

5 Seater Mitsubishi Pajero SUV

CAMERA HOPS: Sony URX-P03D 2-Channel Portable RX and Sony UTX-B03 TX (2) feeds two channels to A-CAM, Sennheiser Evolution G3 100 (2)

TIME CODE AND SYNC: Tentacle Sync E (1), Tentacle Sync TC Generators (2) and all cables. Digital Slate Denecke TS-C Compact Time Code Slate - Color Clapper, EL Backlit

IFB: Comtek M-216 Option P7, Personal IFB Headset Receiver (4)

NARRATION / VOCALS MICS: Shure PG42 Side Address Condenser Microphone tailored for voice and lead vocal performances, Shure X2u XLR-to-USB Signal Adapter, Auray RF-5P-B Reflection Filter

DIGITAL AUDIO RECORDERS: Marantz PMD620MKII Similar to what ThisAmericanLife uses.

ACCESSORIES: Sennheiser HD 25-C II headphones, K-Tek Stingray Mixer bag, Rycote Modular Windshield + suspension / K-Tek Zeppelin Fuzzy + Shock Mount / Rycote Baseball Felt-Covered Windscreen, K-Tek KE-79CC Traveler Avalon Series Aluminum Boompole, Ambient QXS 550 - Quickpole Light Boom Pole stereo wiring, Hard Drives, Pelican Cases, Tape, Clamps, Stickies, various XLRs and connectors / adapters, breakaway cables, URSA straps

PRODUCTION COMPANY OWNER / PRODUCTION VEHICLE

As a production company owner Local 81 (www.local81.jp), I can also provide local insurance, walkies and other gear from rental houses. My 5 Seater Mitsubishi Pajero SUV with luggage case on top for extra crew gear is a great production ride. Sunroof for tracking shots. Heated seats. 4WD. AC Power for battery charging. Perfect driving record. Certified for Wilderness First Aid (WFA).

LIGHTING/GRIP EQUIPMENT: Save money on luggage overages and rent local. Gear comes in a Pelican 1615Air Wheeled Check-In Case

LED:  KEY/FILL LIGHTS x 2Genaray SpectroLED Essential 360 Daylight LED Light. Local dimming from 0-100%, a 60-degree flood beam angle and variable color balance from 3,200K tungsten to 5,600K daylight. Stackable to form one light. Battery power and mains. 1 x 1 softbox. ON CAMERA/TOUCH x 2: Litepanels Croma On-Camera (Flicker-Free Shadowless Soft Light, Dial-Adjustable Color Temp, Smooth 0-100% Dimmer Dial)

TUNGSTEN: LowelRIFAex88 x 1. Diffusion screen measures 32" square, making its output very soft. Max. 1000w lamp with dimmer for lower output. ViP V-light 500w smooth, multi-use, tungsten halogen source. Powerful enough to light a small room. The versatile V-light can be used as a broad, key, fill, back-light, or background light.

Bounce Lastolite 5:1 Bottletop Kit 120cm - Diffuser+ Gold / White / Sunfire / Silver, baby bounce, black drape, space blanket, C stands, clamps, tape, etc.

About M/S Stereo: In addition to my standard boom, my rig features a figure 8 stereo mic which makes M/S recording possible. Information from the following source: https://www.uaudio.jp/blog/mid-side-mic-recording/

One of the biggest advantages of M/S recording is flexibility. Since the stereo imaging is directly dependent on the amount of signal coming to the side channels, raising or lowering the ratio of Mid to Side channels will create a wider or narrower stereo field. The result is that you can change the sound of your stereo recording after it's already been recorded, something that would be impossible using the traditional XY microphone recording arrangement. 

Try some experimenting with this—listen to just the Mid channel, and you'll hear a direct, monophonic signal. Now lower the level of the Mid channel while raising the two Side channels. As the Side signals increase and the Mid decreases, you'll notice the stereo image gets wider, while the center moves further away. (Removing the Mid channel completely results in a signal that's mostly ambient room sound, with very little directionality — useful for effect, but not much else.) By starting with the direct Mid sound and mixing in the Side channels, you can create just the right stereo imaging for the track. 

Another great benefit of M/S miking is that it provides true mono compatibility. Since the two Side channels cancel each other out when you switch the mix to mono, only the center Mid channel remains, giving you a perfect monaural signal. And since the Side channels also contain much of the room ambience, collapsing the mix to mono eliminates that sound, resulting in a more direct mix with increased clarity.