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FCC License 1 2 3 4 11
by Jeff Wexler- 3 followers
- 270 replies
- 94.5k views
RF Info and the FCC Licensing Project Mission Statement In order to ensure that the concerns, needs and issues of the thousands of professional sound recordists in the United States who use the UHF spectrum on a daily basis, can be heard by the FCC, it is imperative that as many users as possible obtain a license from the FCC. The basic goals of this project are: To educate Production Sound individuals who use radio equipment in the lawful use of these devices, and to understand the privileges and responsibilities of licensed operation. To remove the liability of unlicensed operation of wireless transmitters. The FCC can levy fines of up to $11,000, per trans…
Last reply by Matthew Steel, -
- 36 replies
- 2.5m views
I think we can agree that ALL of the equipment that we use on the set is important, and it is of equal importance that we fully understand how everything works and what to do if any of it stops working. I came into this industry and specifically into sound, not through any formal training in electrical engineering, audio or acoustics, and pretty much had to learn all the technical stuff "on the job." Even to this day I fall into the category of someone who knows and understands a whole lot of technical stuff but from the perspective of its practical use. Don Coufal, my boom operator for the last 28 years (actually, for almost the whole of my career) spelled out what he…
Last reply by larry long, -
- 3 followers
- 21 replies
- 2.4m views
Almost all the people I work for who send me IRS form 1099s put the money they've paid me for equipment rental in the "non-employee compensation" line of the 1099, as opposed to "rents". Since they almost all do it, assumed that this was correct. But thinking about it, in cases where my labor was payrolled and the invoice I gave them was only for gear, why wouldn't they classify the 1099 amounts as "rents"? As does it make any difference anyhow? Philip Perkins
Last reply by Tom Craca, -
- 8 replies
- 1.7m views
We just got stuck shooting in the rain all day Monday. I was comfortably dry under a pop tent, but my boom op and microphones were getting rained on. We stuck a bag over the wind screen to protect the mic, but the big drips made a lot of noise on the plastic. How do you guys protect you're gear in the rain?
Last reply by John Gilman, -
- 1 follower
- 48 replies
- 1.7m views
I came in the biz as a mixer, moved to booming, and then to cable as i moved up to better and better films. I then worked my way back up to boom op, then to mixing, so one may guess my POV. But I've worked with great mixers that never boomed a day in their lives so I'm not so sure. Just thought I'd throw it out for your POV's Thanks old school
Last reply by taylormadeaudio, -
- 1 reply
- 704.6k views
Hi all, what are the other production sound sites besides R.A.M.P.S , thanks for all info Harry
Last reply by Philip Perkins, -
- 1 follower
- 35 replies
- 337.3k views
This is one area where I still find myself taking a bit of a regular kicking on occasions, you know the one, Takes 1 to 6 ok for sound, but still no good for camera or actors or DP, Take 7, excellent all round apart from the wind damage that killed the take for you. Over the last 20 years I have tried many methods of protecting lav mics from wind, Its always a trade off between size and protection, so the purpose of this post is to promote the sharing of our ideas to achieve the best use wind cover on lavs. Regards Brian
Last reply by JDirckze, -
- 27 replies
- 288.4k views
Hi folks, once again we visit the perspective thing. How about listing your favorite films from the old school where perspective is king? First Blood Every Which Way but Loose
Last reply by old school, -
- 6 replies
- 238k views
Hi I am writing on behalf of Pawel Wdowczak, sound mixer. He's looking for a boom op to do a Wes Anderson film to be shot in India. Here are some parameters: 1. 10 weeks of shoot - December first week through Mid February, four day holiday around Xmas. 2. non - union shoot 3. around 2k USD a week - five day week, 12 hour days call time to wrap including lunch and other breaks 4. 6 weeks of shoot on a moving train - we get into the train in the morning, shoot and get out at wrap and back to hotel. 5. per diem assured - from my deep experience of India and the American Dollar versus I, it will more than cover a lot more than two beers, dinner, laundry and som…
Last reply by soundtrane, -
- 24 replies
- 179.5k views
Let me say at the outset that this post is intended to generate amusement, perhaps at my expense. Recently, I told a salesman for an audio shop that I am interested in buying an Aaton time code generator and a Tascam HD-P2 recorder. The salesman said that while his company is an Aaton rep (they sell the Cantar), he can't sell me, or even show me, an Aaton generator. Why? Because time code generation is a camera department issue, not a sound department issue, which means that if I want to buy an Aaton generator to jam a sound recorder, I have to speak to a different company. This means that if I want to test an Aaton generator with the Tascam sound recorder,…
Last reply by Rob Braxton, -
- 2 replies
- 115.2k views
Here's a quote from Zaxcom's description of the ZFR100: "Zaxcom's new system also features special software that eliminates the problem of flash memory burnout due to the continuous writing of the flash card directory as if it were a hard drive." Is this a real problem? Any other flash card users experience this? I'm exploring investing in one of the compact recorders and don't have any experience with them yet. Thanks, Greg
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- 2 replies
- 89.1k views
Jeremiah Moore posted an interesting link on r.a.m.p.s. to an as yet unreleased audio app that could be quite useful. No word yet on what metadata support or functions it will have. There is a link to a Quicktime movie which is a demo of the software. http://www.audioease.com/Pages/Snapper/SnapperMain.html The page contains a quicktime video demo of the software. I suspect the vapor-factor of this software to be low - Audio Ease has a good history of releasing quality software. No word what (if any) BWF info this app will read - we'll have to wait and see - or ask for it -jeremiah Regards, Jeff Wexler
Last reply by miker71, -
- 30 replies
- 83.8k views
Hello, I was just looking at Oleg's pictures and the fact that the boom op had no headphones jolted my memory. About two years ago I boomed on a film where the mixer asked me not to wear headphones. We were doing dialog scenes, and whille I always respect and value the approach of the sound mixers I work for, I couldint help to think that this was a strange way of doing it. As a mixer I always have my boom ops "on the air" not only for the fact that they can critticly judge their work but also for communication reasons. Also I have ran into the no boom op headphone issue whille going through the behind the scenes of various films. I was just wondering how people out…
Last reply by Doug Brandon, -
- 25 replies
- 76.3k views
Hello, How would you guys handle a scene where 3 actors in a moving car are soposed to sing along to a well known song? I thaught of recording a reference trk during playback, as well as trying to do a version where the music is reletivley soft and finnaly a complete wild (with the actors recieving music via headphones), and letting post deal with the rest. Is there a better way of handeling this kind of situation?? as always your opinions are very appreciated. Bartek
Last reply by Noah Timan, -
- 8 followers
- 187 replies
- 50.6k views
Fellow sound mixers! I wanted to get your feedback on Los Angeles non-union rates. I recently upgraded and bought more gear. So I wanted to share with you my gear and see what you guys charge. That way I am not under cutting other mixers or being offered less then a fair rate by clients. So again what would your labor rate and kit rate be? Also what would your kit include before you start charging a la cart? Thanks for your time with this. Below is what I currently have (1) Sound Devices 664 6-Channel mixer/recorder (3) Zaxcom TRXLA2.5 transmitters (2) Zaxcom QRX200 & QRX235 ENG receivers (3) Countryman B6 Lav mics + all mic accessories (1)…
Last reply by IronFilm, -
- 2 followers
- 46 replies
- 47.4k views
Hi What system do you use for wireless sound for the director. I am recording commercials with a small crew, but need to send the sound wireless to the director. I would normal use boom and one wireless mic on the actor. Would you send a mono signal or both boom and wireless mic ? I would like a small pocket system where it is possible to send a stereo signal. And a system that can run on batteries, instead of charging system. I would like to hear from yours experience. I am recording on a Sound devices 664. Thanks
Last reply by JonG, -
Okay I'm sure this has been brought up before, but I still don't have an answer. If you have a scene with a scripted overlap, or else the actors improv or their delivery overlaps, is it okay if you've got everyone on-mic? Obviously in a wide shot you want them to overlap since they're all on screen, but in a clean or dirty single is it okay? I'm only talking if you are able to get them both on a good, on-axis sounding track. I've placed Sankens on the outside of clothes in the sweet spot (center chest) for off-screen lines that may overlap, or even better a second boom for the off-screen lines. I figure it's okay to let actors overlap as long as I have them bot…
Last reply by Izen Ears, -
- 9 followers
- 161 replies
- 38.2k views
It's the little things like a bit of red nail polish on the lock side that add up to make the day go faster: Whatchoo got? -- Jan
Last reply by mono, -
- 9 replies
- 33k views
AMC is now charging a premium to see films in ETX (Enhanced Theatre eXperience). I think this is the next big rip-off for the movie going public, and I am interested in your opinion (especially with regard to their claims about ETX's sound). I saw THE GREY (good movie, by the way) at a matinee, and the ticket price was $14.50. It was $10.50 for the matinee (which is already high) and $4.00 for the ETX surcharge. When I asked what ETX was and why I was shelling out more dough for it, the kind teenager said, "The screen is really big, the picture is clear and sharp, and the sound is really loud and crisp." I replied, "Big picture and good sound? Funny. I remember when …
Last reply by ShubiSnax, -
- 22 replies
- 31.8k views
Hey guys I wanted to ask what are the norms for non-union shoots for when overtime starts? For 1099 jobs that are invoiced for services & equipment rental: I've been freelancing for over 8 years and usually it's a 10 hour day including meal break. after 10 hours 1.5X overtime. Usually until the end of the shoot which could go up to 16 or 18 hours. Now I did an ESPN job about 4 years ago (2 person docu. style + 1 producer on-location) and the cameraman told me 1.5X OT after 10 hours. 2X OT after 12 hours. I billed for it and no problem. Only a few other clients had me bill for 2X after 12 hours over the years. Like I've read here on JWSound 'overti…
Last reply by johnpaul215, -
- 5 followers
- 152 replies
- 31.3k views
What do you think? 75+Mhz ? http://catalogs.infocommiq.com/avcat/ctl1642/index.cfm?manufacturer=lectrosonics&prid=10706
Last reply by BAB414, -
- 4 followers
- 32 replies
- 31.2k views
Hiya friends: In the Zaxcom ERX series manual, it says: "TIP: There are several smart phone apps that will scan what wi-fi frequencies are being used in your area. This can be useful in selecting a clear frequency." I just looked on the App Store and have found nearly a hundred different versions of this, none of which seem exactly right for our purposes in this application. Can anyone recommend an app that's working for them to help choose Zaxnet frequencies? Thanks in advance, E.
Last reply by osa, -
- 1 follower
- 155 replies
- 27.6k views
What kind of stories can you share about your work using them? It's truly hard to believe whole movies were recorded on them not for lack of quality but with using Tape. It must have been so much more work using tape then todays recorders. Any stories? I don't think many collectors have the opportunity to ask the people that used Nagra recorders every day in their career in sound. And another question - before the Stereo Nagra IVs and IVs-tc (time code), the sound was recorded in mono? All movies before were in Mono that can't be?
Last reply by studiomprd, -
- 8 followers
- 160 replies
- 27.4k views
Anyone using these? Any brands to look for or stay away from? Thanks!
Last reply by RadoStefanov, -
- 7 replies
- 26.1k views
My fiancee, a Portland native, has been steadily increasing pressure on me to consider moving back from NYC, where I am comfortably working as a 52 boom guy and occasional mixer, to Portland, where I would have no union card, and no idea how to get work. The fact is, I'm eventually going to acquiesce, even if i hold out for a couple more years, especially if we have a kid. Any Portland people out there with advice? How easy would it be to join the local? Are the books 'closed'? Is there enough work out there to support another boom op? Or should i consider taking up another line of work? fishing, A
Last reply by syncsound,