Just returned from a two-day shoot at Sea Islands GA. Thanks Kris Carillo(DP), Dave Thompson(Dir), Jon Wang(AC), and Lee Narby(Gaff). Yes, it was hot and buggy, but I love being in the lowcountry!
Shooting for Bloomberg with golf pro Todd Anderson.
Much of the audio engineering work that I did at On Line Audio recording studio wasn’t much to write home about. I often think of it as “my studio,” but it really wasn’t mine. Robert Graves was the owner and I was the studio manager, and the way things evolved was that Robert did most of the nighttime sessions, while I ran the audio for the 6 and 11 news at WCBD, and I ran the daytime sessions. Even after I resigned at the station, that’s mostly the way we continued to do things.
Many of the really serious clients preferred to work at night. I mixed everything else. Some of my sessions included folks with amazing talent, but others, well… not so much. This story is from the amazing column.
Once we got a call from a client who was really pressed for time, and only had one day before he had to fly back to California. I think it was a Saturday, and Robert was unable to do the session. I remember him telling me that this Steve Bailey guy (I’d never heard of him) was a phenomenal bassist, and you should have a really good session. So I was assigned to engineer for him.
I met Steve early one morning, and I was immediately impressed. Very personable and down-to-earth, yet clearly the best bassist I’d ever met. He had some reels of 2″ tape with him that contained backing tracks recorded at a studio in California. There was something wrong with his bass tracks, though I can’t remember what it was… either there was something technically wrong, or he was rushed during the session and didn’t like the performance. We were going to re-cut all of the bass parts.
But Steve was having some sort of dispute with the record label over this, and they didn’t want him to re-record the parts. THAT’S why he was recording at a (comparatively) small, out-of-the-way studio in Charleston, SC. If the label got wind of what he was doing, they’d have a fit. So the deal was there were to be NO extra copies of the music made- no cassettes, rough mixes, etc.
Steve set up his pedal board in the control room and we started to work. I believe we set up an amp out in the studio, and also cut a direct box track, but can’t remember exactly. He and I sat in the control room, I ran the recorder while he played. I do remember exactly the length of the session, though… sixteen hours, longest session I’d ever done before or since. The whole time, Steve played like a machine, never slowing down or tiring. I remember feeling exhausted, but the music was so good that I didn’t notice the time as much as I would’ve otherwise.
Then just like that, it was over. Steve made his flight and we never saw him again. The album was never released… I guess the dispute was never resolved… and I spent years kicking myself for doing the right thing, and not keeping some kind of copy of the songs.
Remember that this all happened around 1992- before the internet. So a few years ago I started doing some web- related research. I spoke with Robert Graves, and I found Steve Bailey’s website and tried sending an email, but never heard anything. Then this came in my inbox:
Brian, sorry for the delay here.. the album you mention is out of print, although it may be re released at some point soon. It is called Dichotomy and you may be able to find it online.. you can certainly use some stuf from it. there were two releases in asia and europe.. the asian release has much more recording details… good luck, steve
Copies of the album are occasionally available on eBay at very high prices… for example this one at $125
But if you’re patient, you can find one for $45… still really expensive, but I bought one because of the history. It took forever to arrive (it came in from Japan), but it’s every bit as good as I remember. One of the tracks even has the great Dizzy Gillespie playing on it. Be sure to check out Steve Bailey’s website, stevebaileybass.com.
So what does this record sound like? Have a listen:
The tracking and mix on this project is great. Good jazz drums have always impressed me, and the panning and tone here is especially nice… clear and well defined, not “overdone,” and very well played by Joel Taylor. The liner notes don’t say who the mix engineer was, but it was mixed at Slam Shack and Room 335. Guitarist Larry Carlton owned Room 335 in Hollywood, CA, and while he’s not listed in the engineering credits, he probably had a hand in it.
Here’s another snippet from a song called Surf’s Up… reminds me of Weather Report:
I couldn’t close this post without this song called Dizzy’s Tizzy. On trumpet is Dizzie Gillespie (yes, THAT Dizzie Gillespie). Even though I only played a very small role in producing this track, its pretty cool to say that I worked on a song with Dizzie Gillespie on it. If you’re really into jazz bass, check Steve’s website or keep an eye on eBay for this CD. Like I said, it’s crazy expensive, but it’s really good music… enjoy!
I’ve just wrapped on a commercial for Volkswagen that went outside the usual scope of work. The client needed to capture dialog inside a drift racer operating at speed. The driver was Tanner Faust, formerly of Top Gear America, and his “co-pilot” was cyclist Tim Johnson. This rather lousy iPhone video shows an example of the kinds of speeds we’re talking about:
Most race cars these days are equipped with radio comms so the drivers can communicate with the pit crew, but I don’t like to rely on other systems as you never know if they’ll work or what sort of quality you can end up with. Conventional lavs wouldn’t work either because of the noise inside the car. I decided to go with an earwire-type lav, since the only chance of overcoming the background noise would be to get the mic as close as possible to the source. And as this would be such a lousy ambient environment, I decided that an expensive mic like a Countryman B6 would probably be pointless. I found a fairly inexpensive pair of earwires that had a 4-pin connection that would need to be changed over to a 5-pin. This turned out to be a bit trickier than I thought, as the mics came with a microscopic surface-mount circuit board inside the connector which needed to be retained. I managed to cut the old connector out and resolder in the new connector by applying large doses of profanity to the solder job. It worked in the end.
Of course, this style of mic is visible, which is rarely acceptable in a commercial. But in this case, it was either that or nothing… as in recording MOS (without sound) and then looping in some dialogue over car noises. This wasn’t really an issue, though, since all the interior shots would be from GoPros (eight in total) and all these were set to fairly wide angles. Tanner’s mic was hidden by his helmet… only Tim’s was visible, and being flesh colored on a wide lens, it was barely noticeable.
My bag in position inside Tanner Faust’s Jetta.
The next issue was dealing with the distance. I didn’t have time to build a pair of custom antennas for my transmitters… putting the antennas outside of the metal shell of a car will increase transmitter range, but the distances would be too great in this case, and there wouldn’t be a chase car. The only solution was to “drop the bag,” in other words, securing the bag somewhere inside the car, placing it in record, and letting them take off.
The obvious disadvantage is that you can’t properly monitor what is being recorded. I did have a Comtek PR216 monitor transmitter hooked up, and it worked pretty well given the difficulty of the job, but there were lots of dropouts and hits to the signal. But listening to the file after the fact gave a reasonably good result. Tanner’s mic sounds a bit worse than Tim’s… that’s a result of the style of helmet, as Tanner was wearing a closed type, wraparound helmet that pressed the mic close to his mouth, and Tim’s helmet was an open type that allowed the mic to stay in the correct orientation.
I’ll post a link to the finished spot once it gets posted online.
I was asked to do the location sound for a commercial in Atlanta last week for a company called “Fat Hair.” We shot two spots over two days. The camera was a Red Epic Dragon, which is capable of shooting at 6K resolution, but thankfully for the data transfer, we shot the spot at 4K. (If we’d shot at 6k, we’d STILL be waiting on the files to transfer…)
Day one on the Fat Hair set. We had a larger crew than I normally work with, around 30 people. Cold, but thankfully sunny.
My big concern was the timecode. A common response when I offer my timecode gear “that would be nice, but we can’t afford it,” so I don’t get to use this stuff on every shoot. But this time they wanted the full monty. Once I got everything set up properly, it all worked without a hitch. The camera department REALLY appreciated the pack-of-gum-sized Q28 lockbox, since the real estate on Red cameras is very tight. We velcroed the lockbox to the batteries, and other than removing it to re-jam after lunch, we pretty much forgot about it.
Inside shooting on Day 2
The basic workflow is fairly simple, actually. My 664 was the master clock, set to time of day. The Q28 is connected to the 664 then powered on in order to jam. Same thing with the timecode slate. Both the slate and the lockbox were left switched on throughout the day. Six AA batteries (rechargeable) powered the slate for the entire 10-hour day, while a pair of standard AAAs ran the lockbox. At the end of about four hours, I noticed a drift of about a frame or two on the first day, but less than that on the second day. It might have been due to temperature differences, since we were outside on the first day… the slate would have been colder than the lockbox, as the Red’s camera battery would have kept it slightly warmer as it discharged. Other than that, it was a fairly straightforward shoot. There were only a handful of short lines- a few wild tracks (non-sync). I rolled audio during the high-speed takes just so the camera files and audio files would match up, and maybe there would be some quick sounds that post could use.
I’m pleased to announce that I’ve finally taken delivery on a Denecke TS-3 timecode slate and a Mozegear Q28 timecode lockbox.
For the very highest quality audio, it’s necessary to use the recorded files that are provided by your soundperson… the quality of the digital converters in my Sound Devices 664 just sound better than camera audio files. Yes, it requires more work to sync the audio with the video, but the differences are apparent… especially when you listen to the two files side-by-side
My Denecke TS-3 timecode slate
There have been a number of workflows proposed for getting timecode on DSLR video, with varying degrees of success. But a timecode slate is still considered an industry standard sync aid, since it gives a visual confirmation of the timecode numbers that can be checked at a glance.
I’ve needed a timecode slate for a long time, especially on DSLR shoots, where dual-system audio recording is a must. The inputs on DSLR cameras rely on a single, unbalanced, non-locking 3.5mm connector, and I refuse to rely on the camera as a recording device. I did a 5d shoot once where the producers assured me that “… it’ll be fine, we always do it this way…” and the audio mysteriously disappeared. Had I not been recording a duplicate signal to my Sony recorder, two days and many, many thousands of dollars would have been wasted on a silent movie.
The only problem with timecode slates is the cost. They aren’t often available used, and the few that I have seen were pretty badly beaten up. New slates are expensive. But I finally bit the bullet this year and purchased a Denecke TS-3EL from Trew Audio in Nashville, my preferred supplier. And yes, it’s the backlit version so you can see it in low light situations.
The Mozegear Tig Q28 lockbox. The camera department loves the small size and light weight, especially with Red cameras where space to mount things is at a premium.
To go along with it, I also purchased a Mozegear Q28 sync generator. While most cameras can generate a reasonably reliable timecode signal, a few are notorious for wild drifts, errors, resetting to zero when you change a battery, or other shenanigans. An external sync generator solves these problems, and gives a steady source that is nearly always dependable… with good batteries, of course. The Mozegear Q28 is a Camera Department favorite because it is very small and light… about the size of a thin stack of credit cards. I had to sew up a makeshift case for it so it can be attached with velcro. The only trouble I’ve had so far is the cables. I’ve got the BNC output and 5-pin Lemo… fine for Arri Alexa and Red One, but Red Epic, Scarlet and Dragon uses a 4-pin Lemo. And of course, we were shooting on a Scarlet… some days you just can’t win.
One of the things that I wish Mozegear would include is some sort of protective case or wallet, to keep the gear from getting beat up. I suppose there might be some kind of mini cell phone case that might work, but I couldn’t find one so I stitched this one up. Unfortunately that’s about the only option… it’s so small that there’s no profit for a company like PortaBrace to make one.
I’ve just been told that a short film that I worked on won the Best Film award at the Cannes Short Film Festival… link is here.
One setup at the house where we shot. I don’t have too many images because I was too busy working to shoot stills.
The Day After Stonewall Died is a short film I worked on back in 2013. I was location A1 for four of the five days that we shot, my good friend John Billings filled in for me for one day while I had to dash off to Nashville to do another job. John Dower was the director, who flew over from the UK to do the shoot. The script was written by Chattanooga’s Anthony Sims.
We shot mostly at a house owned by Jan Bramlett down in Georgia… it turned out to be a great location. The bar scenes were shot in East Ridge. Special thanks go to my boom op Will Taylor, who worked long and hard on this film. We had lots of really great talent on this set, with many people working for a very low rate. It’s great that their hard work and sacrifice is validated by winning at Cannes… not an easy trick to pull. Thanks again to John and Anthony for asking me to do this, and congratulations to them as well as everyone else who worked on this film.
I was in Nashville last week shooting for Mike Wolfe of “American Pickers,” a popular reality show on History Channel about finding antiques. Early on, he noticed that American Pickers was popular with kids, so he wrote a book directed to younger readers about discovering local history through artifacts and repurposing old, interesting items. Out of that grew a contest called “Kid Pickers” where kids could show off their finds and submit an essay about it. Three winners were chosen… first place received a $10,000 scholarship.
At Antique Archaeology in Nashville TN (Before the doors were opened!)
We shot at Antique Archaeology in Nashville, TN. Mike is a TN native and sells his finds at his store there. Most of them, anyway- the ribbon mics that he has weren’t for sale. The store was insanely crowded with people once it opened to the public… it’s apparently quite the tourist destination. It’s located in the old Marathon car factory, a very cool brick and timber building in West Nashville that was purchased for a song in 1981 and is now worth millions. (the owner won’t sell… Mike says he’s tried)
Mike Wolfe delivers a standup at the N State Fair, September 2014
It was a fun shoot overall… the winning finds were a beaver skin top hat from the late 1800’s, a tramp art bottle vase that was decorated with old cigar bands, and a precursor to the Xerox machine that was found in an alley. The kids, all about 12, were a bit overwhelmed with all the attention, but they had a good time. I enjoyed meeting Mike, he was very personable and fun to work with.
I had a chance to work with Kari Byron from Mythbusters a few months ago. She was here shooting a special for Discovery in the Smokey Mountains National Park, which is about 3 1/2 hrs away from Chattanooga. It was just a one-day, one-time gig, but it was fun to work with someone who was famous… at least at our house. We started watching Mythbusters not long after it started in 2003, since Kyle would have been 13 at the time- the perfect thing to get a young boy interested in science, or at least in blowing stuff up.
Kari Byron with park ranger Becky Nichols
The show is about the sychronous fireflies in the area. It only happens in a few places during a short period of the year. They aren’t sure exactly why they do it, but all the fireflies in a given area will light up in waves. VERY cool to see.
The downside was the weather, and right about dusk the sky opened up. I have raingear which protected the gear pretty well, but it was sweaty, wet-footed, unpleasant work. But Kari was a real pro, without the slightest bit of complaint or cross word when she HAD to be feeling about as miserable as the rest of the crew. It was a real pleasure to work with her.
Brian Gilbert with Kari Byron, before all the rain started.
Way back in the days before the internet (most kids think this was shortly after we tamed fire and invented the wheel), I did a fair amount of audio work in production trucks. It wasn’t a regular thing, just a few times a year… enough to be interesting. But not much since I’ve been a freelancer. That changed, though, when I got a call from Encompass Media (Formerly Crawford Productions in Atlanta) about a shoot in Chattanooga at the new Volkswagen plant. They wanted an audio operator with satellite truck experience. Perfect, that’s me… or so I thought.
Encompass Five at 4:30 AM
I showed up at the call time of 12:00 for setup- the sat window was for the next day at 8. After talking to the truck producer and getting an idea of the scope of the project, it was clear that this wasn’t your normal broadcast uplink… or a quick day. It was uplink and downlink, with video playback, a mirrored mix in the truck with mic sources split from house audio, plus two different audio feeds from the downlink (English translation and German). Oh, yeah, and we need three different IFB lines… one for the cameras, one German language for communication with the sat operators in Wolfsburg (Germany), and a third “God mic” for the inside producer. The inside two IFB feeds will connect to a wireless system provided by the house sound guys, but it’s a Telex 4-wire that doesn’t work with the RTS system that the truck has. And we need to record the feed in the truck on their recorder and the director’s laptop. Can you make it work it?
I didn’t quite know what to say. I was trying to come up with a response that sounded good but still had a slight basis in truth, while trying hard to fight body language that included cold sweats and crying like a baby. Mercifully, the truck’s engineers Alan Rogers and Shaun Flowers jumped in and said yeah, we could probably make that work. I wasn’t nearly so sure.
By about 11PM that night, we had most everything working the way the client wanted. Getting the signals into and out of the truck involved lots of cryptic patching, imbedding, and interfaces which were very unfamiliar, so I owe both these guys a huge debt of thanks for walking me through the process. I’ve set up production trucks before, but it was awhile back… the trucks were analog and the setups were nothing near this complex. They were able to put it all together while simultaneously putting out several video fires (like weird CCU problems- one just didn’t like the line it was being used on, and mysteriously came to life once moved to a different camera.)
In Encompass Five sat production truck. We’re smiling because we’re done. Left to right, engineer Shaun Flowers, Brian Gilbert, and engineer Alan Rogers.
Call time for the next day was 4:30AM. The show itself went pretty much as planned. There were some problems on the Wolfsburg end, but our side went fairly smoothly. The director said very little- he didn’t “call” the show the way I’m used to, i.e., “standby one,” “take one,” standby video,” “roll video,” etc. But it was fun to punch a show on a board the way we used to do it, even though it was just a little Mackie 1604.
Producer, Director and Audio positions. TD Susanne Grote
I wrote awhile back about rechargeable 9v batteries, and why they’re an important part of my workflow, There’s a new 9v rechargeable power solution available now, the Beachtek 9v batteries. They are a hair more expensive than iPower, ($24 each in pairs for the BeachTek, $22.95 each for iPower) but they have significantly greater capacity… the iPowers are 520 mAh, but the Beacheks are 700 mAh. I recently bought eight of these batteries for my kit, since my iPowers are two years old now.
First the bad news… the new BeachTeks are just the tiniest bit thicker than iPower batteries or traditional alkalines. As a result, they WILL NOT FIT my Lectrosonics 201 receivers. They do fit in the Lectro 200-series transmitters that I have, as well as the LMA transmitters and the Lectro 211 receivers.
In the bag, this isn’t a problem… I power all my receivers with a NP1 battery using a BDS system. But if I want to use the 201 as a camera link, then I’ll need to use iPower batteries. This isn’t a deal-breaker for me, but it is something to be aware of. The BeachTek batteries will power a lectro transmitter for a full production day. so they’re great to have in my kit. But they won’t completely replace my iPower batteries.
I’ve just learned that I’ve gotten the go-ahead to record guitarist Jim Hurst at Chattanooga’s Barking Legs Theater on Friday night. Jim is a spectacular player… I heard him several years ago, when he was playing here with the Claire Lynch band. His playing style is uncommon. His technical skill is off the charts, but he also brings a highly refined rhythmic sense and depth of feeling to his playing. Far too often I hear players that seem to be all technique… or conversely, plenty of rhythm with poor technique.
Jim plays with a sense of balance that has to be heard to be believed. If it works out, perhaps we’ll have some samples available on his website soon. In the meantime, have a look at some of his other performances at www.jimhurst.com. Or if you’re near Chattanooga, join us at Barking Legs theater tomorrow night and listen for yourself.
We haven’t worked out all the tech details yet, but hopefully I’ll be able to break out some of my custom condenser mics and my Neumann KM184. I’ll record on my Sound Devices 664, which is an excellent capture device. With six channels available, it’s great for for small ensembles, bluegrass, jazz… pretty much anything without a full drum kit. I’m especially excited since I so rarely get to do music projects anymore… this one will be great fun.
As a part of my continual audio equipment upgrade program, I’ve recently purchased a Lectrosonics SRB wireless microphone system to go with my Sound Devices 664. This is one of Lectro’s flagship products, a dual-channel digital receiver in a smaller package than their other units. They’re often used as a camera link, where the small size and light weight are a big advantage. But one of the reasons they’re so small is they have no provision for battery power… they use a powered camera slot.
My bag with the Lectro SRb installed
But their small size and light weight make them perfect for use in the bag where space is an issue, and that’s really an issue with me… see my previous posts (rants) about finding a good bag. I like to keep my wireless units protected in the bag interior, and there is simply not enough room in Petrol’s 664 bag for more than three wireless receivers and my BDS power distribution. And with these, I have to stuff a piece of foam padding to keep the 664 and receivers from rubbing together and developing a serious case of bag rash. I like to take the best possible care of my gear so that it not only operates well, but also because I’ll want to resell it at some point when it’s time to upgrade.
Compared with the 211, the SRB is quite a bit smaller and lighter even if it were only a single-channel unit.
That’s exactly how I bought my new SRB… by selling two Lectrosonics 201s through Trew’s used audio program.(Thanks, Trew Audio!) This covered a large portion of the cost of the SRB… but that’s the receiver only, not transmitters. So last week I ordered a pair of Lectrosonics LMA transmitters to go with the SRB. These are especially handy transmitters, since they can be set up to work with the older Analog 200 series receivers, or the new digital 400 and SR units. Plus they work with 9-volt batteries, and I really depend on my rechargeable 9-volts. Rechargeable li-ion batteries in AA sizes, like those required by the Lectro SMV series, are much harder to find… though I hear they’re available from a company called Eneloop.
So when my transmitters arrive on Monday, this will bring me up to six channels of Lectro wireless. Plus two fixed-freq wireless for a camera hop. That’s enough for most reality shows that want iso channels for each actor. I’ll probably trade up for another SRB when I gather the dollars together for transmitters. But for now, I have a quite a capable bag… enough to cover most situations.
The Daily Show segment that I worked on finally aired this week, so I can post a few more details about it. Here’s the completed bit:
Like most shoots, this one was hard work, but a lot of fun. Al Madrigal was the correspondent, producer was Ian Berger, DP was Jim Wells, and B camera was Brett Johnson. Unusually we had two location sound people for this shoot, myself and Steve LaPard of Nashville. A soundperson for each camera is nice to have, as opposed to the usual situation of me having to feed two cameras simultaneously. There were some times where this was overkill, but it gives the producer the flexibility to split up the crew when necessary.
Shooting at Sugar’s Barbecue in Chattanooga
The subject of the story was the Tennessee-Georgia “water war.” According to the state of Georgia, a surveying error took place nearly two hundred years ago which resulted in the border being shifted to the south. It was no big deal until someone in Atlanta figured out that if the border went north, then Georgia could tap the Tennessee river to supply water for Atlanta, where water is scarce. (but according to some, water use in Atlanta is double that of Tennessee per capita.) I can’t say for sure, but it sounds like Atlanta didn’t plan well for all the growth it’s enjoyed in recent years… that’s why diving around that place is such a nightmare. Georgia has offered to accept a few square miles leading to the river, or else they’re going to the Supreme Court to settle the case. If Tennessee looses and the border gets redrawn, it could loose hundreds of square miles. It may not technically be blackmail, but that’s what we called it back in the hood.
We shot for three days… two in Chattanooga, and one day in Nashville with State Representative Jason Powell, who was a very good sport for agreeing to do the interview. Al is very funny, and an interview like this would be tough to do without saying something that could come back to bite you later… and Rep. Powell did a fine job.
Al Madrigal interviews State Rep Jason Powell for The Daily Show.
In fact, the hardest thing about the whole shoot was keeping quiet while the camera was rolling. For example:
AL-So when did the rockets start landing here?
SUBJECT- Um, no rockets have ever landed here.
AL- Really? ‘Cause this place looks like shit. You sure somebody didn’t set off a meth bomb or something?
Cue the snorts and guffaws from the crew. We were somewhat typecast as hicks, but that was pretty much expected. Sometimes that characterization is well deserved, just watch an episode of Smalltown Security and you’ll see what I mean.
It was a great shoot overall, and I hope to see them again someday.
Here’s a look at a project I completed a few months ago for Suite Spot productions.
The job itself was rather difficult… it really required different gear than I had, and as A1, I was responsible for both the recorded tracks AND the live sound. I did have two A2s with me, Will Taylor and Bob Toves. Will is my boom operator and assistant here in Chattanooga… you can just make him out in the top still image, probably checking out a wireless.(Just above Blake’s right shoulder, next to the cameraman.) Bob is a sound mixer in Nashville, he was operating the house PA. I was tucked away in a corner… probably tearing what little hair have left out of my skull as I tried to solve the eternal mystery of why wireless mics that work flawlessly during multiple pre-show checks suddenly drop a signal seconds before going live. In the old days, for a job like this, I’d be in the remote truck, where I’d have multiple backups for everything. But thanks to the Brave New World of broadcast production, you get the same challenges as before, but with a fraction of the budget. The resources that I used to take for granted just aren’t there anymore… or put more correctly, I have to BUY whatever resources I’m going to use… so I don’t have nearly the amount of hardware that I’d like, especially for a job like this, which combines live sound and audio for video. Both are critical, and while it looks easy on paper, there are a pile of details that have to fall into place for the show to come off successfully.
Even though it added several more grey bits to the little patch of stubble that what was formerly known as my hair, I think the finished production turned out OK. The crowd could hear what was going on, we captured Blake’s audio, and the web production looks good. It reminded me of my live TV days, but without the TV station (or their assets).
I came across the COOLEST vintage VW van while shooting for ZDF at the Volkswagen factory in Chattanooga. For you non-audio geeks, Telefunken was a German company that made some very nice tube studio microphones (in addition to their much more common radio and television stuff). Telefunken mics are highly sought after today, and are still used in studios where price is no object.
I was trying to figure out how far I could get if I tried to drive it out of VW’s conference center, since they left the key in the ignition.
The coolest van ever, a 1951 VW Type 2 Commercial, with Telefunken “Delivery and Service” markings.
Here’s a look at a recent Times Free Press story about a shoot that I was on for the Daily Show, which was in Chattanooga recently to do a segment on the GA border dispute/water takeover. Comedian Al Madrigal and Producer Ian Berger were both very funny… a common question was, “Do you see yourselves as the Palestinians or the Israelis in this conflict,” and, “So when did the rockets start landing?” When told that Georgia hasn’t launched any rockets toward Tennessee, he said, “Really? “Cause it looks like a bomb went off around here… this place looks like shit… I think it might have been a meth bomb…”
I also got to meet Nashville sound mixer Steve LePard, which was a rare thing… he was on one camera and I on the other. Having a sound person on each camera was a luxury that few productions can afford. It was a little bit of overkill on a few occasions, but good insurance on others.
BGilbertSound 
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