Symbioth

Hello everyone! I need help from colleagues. I'd really appreciate any info. I recieved a job offer for 8 months in London. This is a post production job(dialog editing, cleaning, eq, balance, sfx design, maybe foley, ect. It's kind of reality show). It's full time, 5 or maybe 6 days a week(full throttle=))I'm concerned about pay rates they offer. Could anyone from UK(London region would be great) please help me and give any tips on typical rates for this kind of job. Any info would be appreciable. I would need to relocate for this job, so I need to obtain pay rates info from the field to be sure this is gonna worth it. Thank you! It's really important! Have a good day

Sorry for my bad English guys. This is not for TV or Film. This is kind of installation. The result is to have a port for headphones(let's pretent it's near the sofa or smth.) but the place is kind of luxury mancion and they don't want any cables around. Basically I need wireless transmission from a TV to a headphones, but without any battery replacement or maintanance. So I'm looking for an in-ear reciever which I can power with DC. Hope that's understandable) Thanks Mungo, that is an option.

Hello guys! Just got a project job and they have a kind of wierd demands. They want in-ear systems, but both transmitter AND reciever should be stationary, without any batteries in the reciever...so I can't use any in-ear systems I know. Shame to confess, but I never faced this kind of wireless systems before..I mean pro types. They don't want portable recievers with batteries, and shipping those adapters(can't remember the model) for Sennheiser to Ukraine is kind of hard now. Someone got any advice on that?? Please?) Thanks!

ha)got a lot of stories))always open to chat)thanks

The funny thing I actually forced the producer to pay for that bag. Oh yeah, 16 talents talking laughing screaming at the same f***ing time all day long.....for 3 months!! actualy we had two of these. The second was filled with plug-on recievers from booms (we used 2 Mkh 8070 and 4 Mkh 416) But now the show's on air. Just finished editing the final episode and this bag got its special place at the studio))) G3's..well 16 is not the hardest set. Once we had to lav 35 persons with g3's....100 series. 35!!With only 12 channels available in each bank...We searched for clean freqs manualy for about 4 hours...it was a nightmare(literaly..it was a very cold night) but it worked perfectly...

Well, sometimes we should think sharp, and use everything, what's in hand) Tools shop+desperate= 20$ bag for 16 channel recording in reality show))

Hello! You can use every range above 733Mhz for sure!

As sounddevices put separate battery inside for timecode running, I'm pretty sure it(the battery) left for good

We bough some for our production this year, and YES, we actually convinced our journalist that this is a trash bin)))))

Thanks guys for understanding and advice. For sure O-1 VISA is the main path by now. I really have a lots of recommendations and titles in best, very expensive shows. Actually last year I did a reality as a sound supervisor, that bet up all the TV ratings (we use Nielsen as well, by the way)in last 5 years. But I'm planning to send an aplication for the O-1 arleady being in US. First, just as tourist I want to look around things. In that status, what are the chances just to fill in some crew as substitute for cash or work with some start-up (students,maybe)? It should be a little easier, I suppose. What do you think? An image just for fun)): Thanks

Thanks! I spend a lot of time figuring out what are my future steps for legalization should be. We are not cave people here, of course I've searched a lot(don't misunderstand me, please) I just would like to think about some opinions in our community in US. I mean "from the inside". Thanks for giving me them!

Thanks for the reply. I understand that this is the hard way, but I'm looking forward to deal with this situation. Actualy I'm not really want to emigrate, but just to give my knowledge and spirit where it's needed..Not in Ukraine unfortunately now. Well anyway I'm good team player and I know everything about the set etiquette. This is one of my most hard-to-pass exams with my students. Again, thanks for replying. I really hope that somewhere there are good perofessionals and people, who won't say something like: Oh, again another imigrant wants to find a job". My primary goal is to share exp. and minds with my coleagues in US, well and of course not to die from starving)) . As far as I can see from the reply, everything works followed by paperwork, am I wrong?? Surely I can do much better than indie, but I realize that I should build up myself from the very beginning. That doesn't fright me at all. You really don't want to know how things with broadcasters are now in Ukraine. PS: What thread exactly do you mean? if it's ok, could you please give any details? That's very inmortant to me at this time. Here, or PM, as you wish. Hey, while I'm writing this, I recieve another reply)Thanks guys!!!

Oh my God!!!))Germans)

Don't know if this would help,actualy, but I've been on shoots in Thailand recently and searched for Asian RF standarts. Don't know about Taiwan exactly but most of asian countries OK with Lectro Block 29 and Sennheiser Cw and Dw 722-865. But upper you go - worst the RF. So 740-790Mhz should work fine

I did 3 seasons of Master Chef. It's quite similar to the topic. From season to season we improved our main concept of recording... At first we actually did this thing with 9 mixers attached to cams, but we weren't wired. We transmitted the L and R mixes from each mixer wirelessly. That was very helpfull. You can be close to the cameraman but do not interfere with him. BUT despite that, we used fully stationary rack mounted recievers with splitters, boosters and antennas. We used MADI to transfer each signal to Digico SD9 and then to MacBook via RME MADIFace, and recorded every single track to Boom Recorder. So I can't even say which of the method was the back-up actualy)) Mainly we used stationary system and big console because of big amount of talents in the frame (up to 35) and simple IFB won't help the script guys to understand the drama in each and every talent, so we did a lot of sub-mixes for each of them and then sent them to IFBs or monitors in their cabin. But....Years of practice got us to this....Zaxcom 900....only Zax, guys. Screw thoose dropouts and infinite running. We still use all the stationary gear, but we changed mixers with only four 788t and use them just as back-up now. Of course Zax fails a lot, I can tell that. Also SD cards should be as new as possible, but it really works better than any other method we tried. PS: Burn down the ME66!)) My nephew's kid's Karaoke kit sounds better)) Good luck!