Jump to content

joaohpc

Members
  • Content count

    16
  • Joined

  • Last visited

About joaohpc

  • Rank
    Member
  • Birthday 02/06/1992

Profile Information

  • Location
    Rio de Janeiro, Brazil
  • Interested in Sound for Picture
    Yes
  • About
    Sound mixer and boom op based in Rio de Janeiro, Brazil.

Recent Profile Visitors

633 profile views
  1. Rates in UK / Europe

    New situation: now a new production is coming to Brazil to shoot a "branded content" - cause they don't feel like calling it commercial, right? - for 2 major brands, where they gonna have 2 really famous guys to play Footvolley for cameras while shooting brands clothes and shoes, and whatever giant outdoors with brands. So production says its not a commercial, and they want me to do £350 for multitrack recorder with timecode (to send to 2 cameras), boom, 3 lavaliers, audio sent to 2 cameras (i could send by cable, but tell me how i could do that on a sports shoot with cameramen walking opposite directions all around) that means 2 wireless audio on camera. After i accepted that, as the rate is higher than most situations in Brazil and im also earning half a day travel rate, i sent an email to client and local producer (fixer) worried about my equipment. Its a sport shoot on a sand court with 2 players jumping, falling on the sand, sweating. And worse of all, its a footvolley match, so the guys need to use their breasts to receive the ball at the starting point, shortening my options of lav-positioning if i don't feel like having lavalier pâté for dinner. I asked if production gonna pay for any damage to my equipment, which can easily happen on this case. Got a call 5 min after questioning how did i dare ask about that, because they never paid for that, and that is the mixer's responsibility to pay for his equipment insurance. I don't feel like they're right. Read so many stories about equipment breaking during productions and production company paying for it, which seemed to be the norm for me. Also feel like im not being paid properly. But that's the story of our lives, right? The producer told me she "always do the budget making DP and sound earning the same", to which i answered her that's not true, as i know DP is gonna earn more and he doesn't get to bring US15.0000 of equipment for free as i am doing. Don't know whats gonna happen next but... oh man... Its always like that...
  2. Rates in UK / Europe

    And also carnival! Seems to be the tendency worlwide, unfortunately... Feels odd every time we work with producers that actually pay correct rates without crying for discounts or threatening you of losing the job. Stay strong.
  3. Rates in UK / Europe

    Just to be clear here: we also have a high end market where mixers earn more, specially when considering big commercials, but i'd say what is the highest rate you can earn around on that niche is 2100 brazilian reais ( 499 british pounds), with equipment included - 788T, 2 lectros, boom and comteks. I see at Bectu chart you earn in that case 457 to 513 pounds without gear, just labor. Also considering Bectu's chart: at films with major budget you guys earn 472 to 530 pounds / day without gear, while we earn tops 1500 brazilian reais ( 356 british pounds) /day with SD 788T or Aaton Cantar, 8 Lectrosonics wireless - 6 + 2 plug ons - with Sanken or DPA lav mics, 2 booms, audio on-camera, 2 timecode lockit boxes and 4 comteks. Another difference - on films we don't do 10 hours, we do 12h as standard. So if i consider your rate for 12h - 520 to 580 pounds - the difference is even more shocking.
  4. Rates in UK / Europe

    Thank you for the link, it helped a lot as an international reference. It's just amazing how things work at Germany. Found it very interesting that you have small variations of price for each piece of equipment. Most producers in Brazil don't care if you have a Sound Devices, Tascam or Zoom. They just want a multitrack recorder, as well as a lav mic or boom, be it Sennheiser ME66 or Schoeps CMIT, be it Senn ME2 or DPA4071. We sure have a few high end producers who ask for a Sound Devices, but its the minority. And then what happens is: they want the high end equipment paying for prosumer gear, and won't hire you unless you have what they want. Made a brief calculation of my gear - SD 664, Lectrosonics SRB with 2 SMQv, Sanken CS3e, 2 Sony UWP D11 as extra lavs or audio on-camera - and didn't count the timecode set. That list goes for 220 euros, or 824 brazilian reais, which is the rate we earn labor + gear. Also, when considering drama / episodic, i've seen many jobs paying that amount for 788T, 2 booms and plug ons, 6 wireless mics, audio on camera and sometimes timecode lockits. We sure must consider you always give a discount for larger jobs - i.e, 3 to 4 weeks. But you get the idea. So yea, actually we work for free. Sound mixers have tried many times to make a strong union that really has representation like camera department has here. But for some reason it never works out, we're not being taken seriously. We frequently earn labor + gear the same as (frequently less) a 2nd camera assistant.
  5. Rates in UK / Europe

    Also sorry i got the wrong idea! But i've seen a lot of people discussing this subject, and the moral side always seems to be one of the focuses. But yea, things are pretty much messed up around here, and also yea, its the second producer that tells me in UK they earn 350p/ day with equipment.
  6. Rates in UK / Europe

    Thank you everyone for the feedback. I know i shouldn't charge differently depending on what country the production company comes from. That would be right in a perfect world. It is a very large story to put in this thread, but actually in Brazil our unions don't have representation with producers, so what is the value we have on our union charts and what is supposed to be the right value for our labor and equipment is never followed. We don't earn the right for the equipment we use ( quality-wise of what producers ask), and what you see happening a lot at Brazil are old (age) sound recordists that couldn't save money for their retiring even working their whole life. That is because our city is very expensive - believe it or not, almost as in London - but also because we don't get paid enough for our equipment. So when things do break - and you guys know they DO break ALL the time - everything saved is re-spent on what was not enough paid. Equipments here are taxed in 100% - yes, im serious. We need to pay 2 times the amount you guys pay for your gear, pay an expensive international shipping and cry if something breaks, because there's almost no local technical assistance. And if that wasn't enough, we don't earn as much as you guys for the very same gear. If we follow this logic you can't even get enough money to buy new gear if you don't happen to have a wealthy family, so what happens here is 70% of the mixers work with Zooms or Tascam-DR680s, even for cinema / drama / fiction. That's a whole other world and don't wanna go inside that, also don't have any intention to make a drama here, but just to say to @Lancashire soundie and @chrismedr is not that a simple moral question (or so easily logic) as you think, and it actually is quite unfair. This makes me think of what @Christian Spaeth said about equipment being a regular rate worlwide. It makes all sense. I wouldn't be complaining if that was the case. And actually, that's what i try to make happen. I don't ask the same rate as you guys because i consider the labor rate should change for each country - YES -, so i charge an inbetween of local / international rates. Also it makes less sense to go with me rather than a sound recordist from crew's country if we're charging the same, even though there are flight and hotel costs. That being said, i'd appreciate a little more help from you guys if you can let me know how much you charge for a basic kit: - Multitrack recorder with timecode - Boom - 2 wireless mics - 2 wireless utility (extra lavs or wireless sound on-camera) Also, how much would it cost for: - Extra lav - Timecode lockit box ( each ) Based on that info i can get to a fair rate. @pindrop, @Constantin, @daniel thanks for the original feedback, and would love to hear more from this point. Cheers
  7. Rates in UK / Europe

    Hello to everyone, Was hoping to get some feedback about how much are the rates for work + equipment in the UK. Im a brazilian sound mixer based in Rio de Janeiro, and everytime i work with international productions and try to negotiate rates i get the argument that in UK the mixers earn 350 pounds a day for all-in (multitrack recorder, boom, 2 to 4 lavs, wireless audio on-camera and maybe even timecode lockit boxes). This is the second time i work with an UK production, and although the production company was not the same, i got the very same argument from both. I want to find out if that is true, as i received a call for a 3 week job and now they even want a discount because it is a large period. Im brazilian and is hard to find that kind of international information. Actually i found this chart (https://www.bectu.org.uk/advice-resources/library/2244), and it says 350 pounds for a 10 hour day, but i keep asking myself if it is with or without equipment. Had a lot of trouble negotiating extra hours (they still dont want to pay me) and timecode lockit boxes as extras on the last job. Also i received the same argument when worked with a german production back to the Olympic games last year. In that case, the rate was considerably lower - 300 euros (not pounds) a day, but they didn't ask for timecode and it was just 1 camera. How much should be a week rate for 10h/day doc? In UK or Europe. I hope this is the appropriate board, and sorry if its not. I would be happy to have any kind of feedback. Thanks to all.
  8. Tom, why don't you like the MKH 60? Could you try to explain it comparing to 8060 and 416? I used a 60 together with a 8060 on a show and the 60 seemed to have much better reach, although the 8060 sounded much better / richer when close enough. The reach, though, was needed for that show and it really disappointed our team. Would be happy to hear your thoughts.
  9. MKH60/416 again Piano PIA-1

    I preffer the MKH 60 rather than the 416, which sometimes sounds thin on interiors, and off axis is terrible. It also has proximity effect problems. It surely is really rugged and wont go bad on you, even on terrible humid conditions, but if your choice is based on that i really doubt a 60 will let you down. It has never let me down. As Chris mentioned, you should save your money and go to another kind of mic. i personally own a MKH 60 and my next purchase is the CS3e, while the 60 will stay as backup mic and also stereo rig together with a MKH 30.
  10. MKE 2-60 rewired

    Just rewired my lav to a Sennheiser G3 and it worked! Noise floor disappeared. Not sure of what happened with it using the Sony system but the wiring was correct. Will keep it wired for G3. Thank you all!
  11. MKE 2-60 rewired

    JonG, was your lav the MKE 2-60 model, with the barrel? Thank you everybody. I guess i'm gonna try wiring it to G3 system and see if i get the same issue. Will post soon if it worked or not. JonG, was your lav the MKE 2-60 model, with the barrel? Thank you everybody. I guess i'm gonna try wiring it to G3 system and see if i get the same issue. Will post soon if it worked or not.
  12. MKE 2-60 rewired

    Hello everybody, I just recently bought an used MKE2 Gold because it was an incredible deal for an almost not used equipment. The first owner probably used it less than 10 times, and everything he did was inside his home studio so i wasn't concerned about it having wear & tear issues. The problem is - it was the MKE 2-60 model, which, instead of a plug in the end, or a pigtail, comes with an adaptor for using it together with the K6 module from Sennheiser, going straight to recorder. Before i bought it i searched on the internet about compatibility issues if i wanted to rewire it and found nothing. Wrote an email to Sennheiser customer support and they didn't answer, so i decided to buy it. I rewired it for Sony UWP D11 wireless kit and although i can get it to work and , there is a terrible noise floor of an unwanted hiss. In fact i have just recorded myself reading the same parapgraph of a random stuff, with both the MKE2 rewired and the stock lav that comes with the Sony. The higher noise floor is there both on the sound and graphically, as you can see on the picture attached to the post. Im pretty sure it is wired correctly, and also pretty sure that it is normal sensitivity, so it couldn't be any of this options. Just found the Sennheiser "instructions for use" chart, and there is a comparison of models, which gives a significant difference in impedance from this specific model to others. Could that be a problem? I appreciate any help! João
  13. DPA 4017C

    Thank you all for the feedback and A/B tests!
  14. DPA 4017C

    Ok guys, so i didn't want to create a new topic about this mic, but didn't find a lot of references of it here on jwsound, and just a few in facebook groups, so i'm reviving this topic. Have anyone tried the DPA 4017c yet? Would like to hear opinions as I'm about to buy a new boom mic. I currently own a Rode NTG-3 and like it, but i feel like it doesn't perform well on some indoor shootings and it isn't great eliminating off-axis interferences, although i plan to keep it for humid environments and possible RF situations. I've worked as a boom op with other Mics, having liked the Sanken CS3 a lot because of its versatility, reach and off-axis rejection, though i've heard stories of sudden death in humidity. I've recently discovered the DPA boom mics (yes, im really late!) and was very curious with the good feedback and it's small size ( let's say less weight!). I live on Brazil where access to some brands of mics are nearly impossible unless you go to US and buy your own, so i can't rent one to have a proper personal opinion. Was looking forward to hear about: -Reach -Off-axis rejection -Self noise -Outdoors x Indoors - What you guys think about the MMP-C preamp. Really would appreciate any feedback / experiences. Thank you!
  15. Review of the Lectrosonics L Series

    Larry, any news on when the product will be available? Thought it would be at the end of January / beggining of February. Thanks in advance.
×