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About IronFilm

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    Hero Member

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  • Location
    Auckland, New Zealand.
  • Interested in Sound for Picture
  • About
    Sound Recodist / Boom Op / Sound Utility who is located in Auckland, New Zealand.

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  1. IronFilm

    Rechargeable Batteries for TX

    Can't I get access to the opposite end of the 552 if I open it up?? Thus I could then push out the battery from that side. Yes.
  2. This. x1000 I wouldn't want to have a written contract so that then I can use it as ammo to give to lawyers, nope. Just that it would be I imagine a lot easier to get him to stick to his word if I could point to where it was written than relying upon what was said verbally (repeatedly) to me. Ah well, the benefit of hindsight!
  3. Good idea to merge it into one document with your rate card (although maybe not so practical if your rental agreement is four pages long! As that might make the total PDF length a bit intimidating. But can easily be slipped in there if it is say less than half a page). But presumably they'll reply to your emails (even if it is just to send out call sheets) rather than ignore you completely (as yeah, if they're ignoring you, then there is no job to go to!).
  4. IronFilm

    Plug for Reaper

    Am curious, what are you doing that makes 192 tracks common for you?
  5. IronFilm

    Rechargeable Batteries for TX

    I had this happen a week ago with my Sound Devices 552.... now is unusable with a dead battery stuck in it, I'll need to investigate opening up entirely my 552
  6. Exactly. Once lawyers and legalities get involved then all communications is breaking down. Which is why back at my first post I mentioned that is my *last* option, and why I'm posting here to get thoughts about other ways to approach this discussing before going down that path. Exactly, not worth it to lose the no claims bonus and anyway once you subtract out the deductible (for each item, as the insurance company would treat each incident separately) there is nothing at all I'd get back. So it is pointless to even consider in my opinion. However, the producer did multiple times say to me (both before I got involved and during the shoot itself) that they're covered with their insurance for the gear on the shoot. But I was dumb I only got this verbally... not in writing. That is my concern too, waving a multipage legal document under the nose of small time producer for a one day shoot is only likely to scare them away. But it does sound sensible I should do this for longer projects, such as features.
  7. IronFilm

    Sony UWP Wireless System

    The Sony additionally has the extra trick up its sleeve of being able to use the smart shoe on a Sony mirrorless camera (& even the FS7/FS5) to pass audio through to the camera.
  8. At last, a glimmer of hope! As I've discovered a benefit (!!) of not having a written agreement, because the copyright sits with the person who pressed the red button (the record button that is! Least we get confused with my earlier comment about North Korean Nukes). It is only for commissioned work that copyright is with the client. Did we have a commissioning agreement in place beforehand? Nope. Thanks, and yes I'd say the primary purpose of such documents is to avoid getting into a legal mess in the first place. And their mere existence is likely going to be sufficient to accomplish that in many instances.
  9. That is why I have five copies 😉 In several places. (as obvious five copies on a single HDD is pointless, it is no copies at all! So I've spread their location out. North Korea could take out my office with a nuke and the audio would still survive)
  10. Screen shots plus MS Paint would solve that in five minutes flat 😉 In my country (New Zealand) it is not illegal in itself to record a conversation you are part of. (there might be tricky details around how you're allowed to use that recording, but performing the recording itself is never illegal. Because you're part of the conversation) I don't think he is hoping I "go away"? As I hold most of his audio files from the feature film, as I'd told him from before the start that I'm to be paid before wrap (and so before transferring the files). I said this condition exactly because I didn't want to deal with the hassle of getting paid!! (as if I'm going to agree to work at a lower rate than normal, then being sure I'd get paid timely seems only like a reasonable request in return) Yet here I am.... dealing with the awful dragging on hassle of trying to get paid what I'm owed. I should tack on an extra "annoyance factor fee" (oh wait... that is what a late penalty fee is! The weeks are ticking by).
  11. Thanks, hopefully someone else can point me to a useful template. Or I guess I could just look at what local rental houses use themselves, and use that as inspiration. What do you mean though by "company data signatures"? How many pages long is your rental agreement? Is sounding fairly lengthy. Exactly, if they'd damaged the ARRI AMIRA they used or the full set of Zeiss PL lenses or etc.... then the rental house would expect payment too! Wasn't just the nice camera department gear either, they had a full transit truck of lighting gear with the gaffer and a three man lighting team. While sound? My boom op kinda disappeared after the first couple of days, and I thus did it entirely by myself. This experience further entrenched my view I should at least ask for a boom op under me for each feature film.
  12. I didn't include stuff like a Hirose cable failing (they're not exactly cheap! Nearly NZ$200), as I just thought of that as "oh well, normal wear and tear?!" Only put down stuff I regarded as the result of the fault of this specific production (if anything, maybe I was a little too generous! Didn't include a lav failing either, or a TX that still "works" but not the same as before....). And I'm a very reasonable person, perfectly happy to enter in a dialogue of the details of each, it isn't completely impossible we could have reached a compromise other than the figure I arrived at. However he won't budge at all, doesn't even accept that a world exists with any hypothetical scenarios (not even something outlandish and clear cut, such as an actor throwing a wireless pack off a cliff. His attitude? "You put it on him... still is your responsibility!") that would mean he needs to pay anything at all.
  13. Oh yes, I've learned my lesson here to always get things in writing before embarking on a feature! Would you be willing to share with me the form you use? (although of course I'm living in a different legal system, would be a good template starting point I could use) Not a massive amount, but also not a totally insignificant amount either. (a bit more than US$1K ish)
  14. Had unfortunately some gear break during a three week long feature film, wasn't too worried as the producer had said to me prior to coming on board and several times during the shoot itself that everything is ok as they've got insurance for all gear on the shoot so that everything is covered. Plus it is just normal procedure, if production ends up breaking some of your gear that you're renting to them then it is only natural that appropriate compensation for you is considered. Welllll....... now I've sent my invoice, he won't pay a penny for damages, won't even talk about it as a possibility. He won't even admit there exists any kind of purely hypothetical world with ANY scenario where the production should have even the smallest piece of responsibility. Wow. Good grief, when he won't even agree with the broad principle then how can we even get onto the specific details of discussing exactly what he owes? (although I feel like I've already been quite generous in erring to the lower side when evaluating the figures to put in my invoice) I feel like I'm at an impasse here, we've had multiple emails and phone conversations with no real progress. Anyone else with experiences of this, and tips to make him see the light? (I've tried pointing out I should be treated the same as any other rental house he got gear from, the fact I also own my gear doesn't make a real difference. Yet he thinks it is like if someone say gets their sweatshirt ripped or a wristwatch damaged, as they're merely "personal belongings") Although I suppose there are always legal options I could take to try and chase up the invoice with the smalls claims court, or even using the fact I'd still retain copyright of my audio files (thus he can't use them) until I get my invoice paid in full. But I'd rather not take legal paths, unless I absolutely have to.
  15. IronFilm

    Sony UWP Wireless System

    Even for hops to an ARRI ALEXA Classic which needs line level in, you can in a pinch use the headphone output of the Sony to give the camera a feed (although a little bit anemic, but good enough for a rough scratch track if budget confined).