Jeff Hall

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About Jeff Hall

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  • Interested in Sound for Picture
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    I've been recording and mixing sound for TV, Film, Video, Radio, & web for over 30 years. From a Nagra III, a 3M 16-track, and Magnasync dubbers, to 24-track w/tc, Nagra IV-STC, to Synclavier, to Pro Tools. I now have a 664 with Lectros and Schoeps shotguns.

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  1. Ordered mine yesterday, including a lot of other year-end stuff. All arriving today. 40% off the mic, free overnight shipping, no sales tax. And I went with PayPal Credit so I have 6 months/no interest. All my dealings with B & H have been superlative.
  2. Here's a possible solution:
  3. Tom: All good points. As I have an EIN, I try to use it as much as possible. Unfortunately, most of the paperwork I'm given only has a provision for an SSN. I also have a Certificate of Waiver for Workman's Comp (my choice), but that doesn't hold any clout. I'll look into the SS-8 (thanks), but aside from that, I think my options are to become a Corp, or live with my present arrangement.
  4. I've been experiencing this for several years now, mostly on cable and reality shows. My LLC isn't good enough for a 1099, I have to be a corporation, so I end up being an "employee" with none of the benefits or perks that a hired employee who would work in the office. i asked my accountant why, and his answer was that in case the recipient (me) somehow didn't pay taxes on my 1099 income, the IRS could go after the issuer. Apparently as a Corp you play by different tax rules. What I don't understand is how an "employer" can selectively offer benefits, vacation time, and other incentives to some employees, and not others. When I asked him, he didn't know why. The only real gripe I have is that after the gig, I have to copy, sign, scan, and email what seems to be a small novel of paperwork, all on my own time, and the majority of the time, I only work one gig. Frustrating for sure. i think this is one of the many new "realities" of freelance life. I'd try to change it if I could, but I think this is the new normal.
  5. Don't know if it's truly standalone yet. For Yamaha broadcast mixers at least, it's a dedicated card/software hybrid.
  6. +1. Record talent on the bike best you can, and do wild lines after. Then you can show production you did it both ways, and they can choose the lines they like. You'll be a team player, and they'll see that wild was best. Win-win.
  7. Once the director has cut the program, you should cut. If the talent understand that the program is over, then continuing to roll either picture or sound IMO violates an implied understanding that whatever is heard or seen afterward is considered private. In very rare situations I've had directors ask the crew to keep rolling (easier to do in a sat truck or control room than a set), but at that point I consider that it's the director's responsibility for any and all consequences, good or bad.
  8. Thanks for the responses, guys. Yeah, I'm no stranger to the genre. But my experience in the last year or so seems to be "more work, less money, less experienced people, much less communication." What I've tried to do is to obviously ask multiple questions as to what their vision of Sound is, and then send my own Deal Memo back to reflect that conversation. This has helped me from being blindsighted on location by producers who ask for something that wasn't discussed. Sometimes the office is receptive, other times they're in a hurry to just fill a slot. It can be somewhat messy in the heat of the moment, but at least I've tried to cover my bases. In short, I want to be able to protect myself (and provide the production what we've agreed on), hopefully with a minimum of pushback. I've very rarely had near the problems with any other types of work. Curious to see how other folks here have dealt with this...
  9. I recently worked a reality gig--very run and gun, 6 wireless, 1 boom, hops to 2 cameras (w/split mixes), and IFB for 3 producers. Then a PA gives me a walkie/earpiece that the production requires I use, and end up trying to follow mostly unintelligible/irrelevant producer chatter. What gives? How do I do the job I'm hired for when I'm not allowed to do it? I'm supposed to be mixing sound, not resemble a hobbled pack animal. Anyone else have a similar horror story?
  10. +1 on Deneke. If I've ever had a question or problem, Charlie has always been a phone call away.
  11. Cyril said "soon".
  12. Thanks for the info. Cyril and I have had a good back and forth chat over the past couple of weeks. They have no parts, but he's invited me to look into the new Quart Turn pole when it's released. Still looking for that #4 collar.
  13. Hello all: I'm in the process of resurrecting an older VDB boom pole, and I'm looking for a specific part. The pole is a QL (Quick Lock) that PSC was distributing in the late '90s. I'm in need of the #4 collar (3rd from largest). I've contacted PSC, Location Sound (they were able to source another collar, but not #4), Gotham Sound, and VDB Paris with no luck. Anyone have one to sell, or know where I might find one? I've attached pics for reference (#4 is the collar on the left). Thanks!!
  14. Thanks for all the great advice, everybody. I'm also looking at this: Has anyone had any experience with one?
  15. Hello all: I'm going to be mixing an interview with 1 talent on camera and an interviewer calling in on a cell phone. Getting the caller's voice to talent via IFB will be easy. What I'm unsure about is how to get the talent's voice back to the interviewer. This won't be live, and I want to keep feedback and delays under control. I'll be using a 664 and Comteks. Any suggestions? Thanks in advance!