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Daniel Ignacio

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  • Content count

    31
  • Joined

  • Last visited

About Daniel Ignacio

  • Rank
    dotdapple

Contact Methods

  • Website URL
    https://dignacio.org/

Profile Information

  • Location
    Michigan, US
  • Interests
    Music, music, music. Sometimes even movies.
  • Interested in Sound for Picture
    Yes
  • About
    Production sound mixer, boom operator, and music enthusiast in southeast Michigan. Profile photo by Sarah Poteracki.
  1. Boom op-less

    I should really take some business courses! Thanks for this and your extended explanation. Wait, people have boomed and actively mixed at the same time during takes? That’s beyond crazy. I just press record and boom, then ask/fight for another take if I hear the levels clip. This also happens to be the production that let me only have one ME 2 lav with a G3 (sigh), which I posted about and you previously gave me some wisdom on. I’m willing to give them my 100%, with the director understanding that my 100% effort will only be a 75% net gain at the end of the day. (Especially with no reliable wireless.) The production is the inexperienced kind, but relaxed and not terribly rushed. It’s all shot on gimbal (they’ve decided they don’t have time for tripod setups), but they are completely understanding of the situation whenever camera tags my mic. The DP never gives me attitude and it’s good working with him. The director is laidback and fully prepared for the inevitability of ADR. We keep shooting near roads and under flight paths, and if I ask him to wait and he doesn’t want to, I make it clear they have to resort to ADR. Everyone seems to be respectful of me and my limited capabilities, as the one-man sound department. (Though the director did try to persuade me to do a scene in the rain without any waterproofing gear, which I gave a hard no.) Though I’m starting to realize that I’m actually giving 120%, if I’m this stressed despite working with kind people. Perhaps I should take it down a notch for my sake. — Off topic, but “faggy” is still offensive to me as a gay guy. We aren’t living in South Park. Pretty bummed to see that word on this forum of all places, and this made me feel unwelcome.
  2. Boom op-less

    I’m mixing a pilot for a web TV drama at the moment, as well as booming. While I’ve known for a fact that it’s always preferable to have a boom operator, I’m really feeling how it pushes my mental and physical abilities to my limits as a soundie. I’ll try to limit bag and boom jobs from here on out, for anything that takes more than a week to shoot. Which brings me to a question: Production didn’t have a boom op in the cards, and of course being a low-budget shoot, they were reluctant to pay more people. How do you usually ask for a boom op? Do you provide a lowered rate if they agree to hiring a boom op?
  3. On The Late Show with Stephen Colbert. Story starts at 01:58.
  4. Environmental Conditions

    The Sony FS7 is, from what I’ve heard, weather sealed. I’ve also heard good things about the durability of Sony Alpha cameras. The a9 has dust/moisture sealing, though Sony doesn’t 100% guarantee that it’s a complete seal. I know choosing to work with Canon DSLRs is a filmmaking faux pas these days, but the EOS-1D C is “fully sealed” for dust and moisture.
  5. Car Interior Solutions

    Gotham Sound made a video with Giovanni Lima Jr. showing how he mics cars for Comedians in Cars Getting Coffee:
  6. Is a new Sound Devices MixPre-10T coming soon?

    I’m still naïve when it comes to redundancy – any recommended second recorder setups for bag work? The only solution I can think of is both recorders being fed by a 302 or similar mixer, which can’t be great, since it’s just another single point of failure. I can imagine that a cart setup has multitudes more possibilities, but I’m not at that level yet.
  7. Is a new Sound Devices MixPre-10T coming soon?

    From the product page: Not exactly simultaneous multi-card recording, so I assume that means no protection if the primary media (the SD card) fails during a take or before the sound files have finished copying over. But it’s most of the way there. Personally, the stakes on my shoots aren’t high enough yet, so the auto copy feature is good enough to me – the MixPre-6 having no redundancy at all made me hesitate to even consider it. After waiting for reviews and demoing it, I’d imagine this thing will be on my upgrade list, as a good stepping stone between where I’m at and the 633. Even then, would be handy to keep around as backup and a lightweight setup.
  8. Production Mix Structure

    Really cool to hear about ambient booming, Mike. Another technique in my toolbox.
  9. How to hide a Sennheiser ME 2 on talent

    Eh, I’ll give it a shot anyway. I doubt this guy cares but I’m just trying to CYA at this point, making sure he knows that he’s getting this kind of sound out of this mic. Oh, I don’t doubt that at all. I’ve had tractors, hunters’ gunfire, and fireworks at some of the rural locations I’ve done, as well as the inescapable problem of airplanes. But there tends to be less noise in my experience.
  10. How to hide a Sennheiser ME 2 on talent

    Again, we do not have a wardrobe department, though I’ll ask the director specifically what he’s having talent wear to set. The script does provide clues, and I was fortunately invited to the table read where they gave some detail about the kind of wardrobe they want. But there remain some unknowns, especially with women talent who may or may not be wearing dresses. Locations were unfortunately locked before they hired me, but we’re in a rural area – lesser chance for environmental noise. I hear that the bigger the crew, you’re less likely to know people in other departments, and so I definitely take advantage of smaller crews by getting to know everyone. You’re not an ass, you’ve been really helpful! The first/previous time I worked with a wardrobe department, they started a feud with my sound mixer. It was awful. I was hoping to hear about more helpful wardrobe departments, but it is what it is! I’ll get the director to send me photos. I’m not expecting great turnout if he has to ask talent to photograph their outfits for sound department (we’re a week away from the shoot), but hopefully they’ve already sent him photos. — Only seven more days, and crew meeting is happening between now and the shoot next Saturday, which is my last chance to persuade the director to rent a lav. It’s doubtful that any rental would arrive by the first shooting day, but the director hasn’t made himself available until now to allow me to demonstrate the ME 2’s shortcomings. Just found a rubber mount for the ME 2 made by LMC Sound. I’m buying one – I don’t expect it to solve all issues with such a sub-par mic, but at least it’ll have satisfied my curiosity and save some moleskin.
  11. How to hide a Sennheiser ME 2 on talent

    Thanks for the guidance, Mike. I’m hoping to demonstrate to the director how his mic is not suitable at our upcoming meeting, and ask him about if he has budget/time for ADR. If that doesn’t convince him to rent a lav, I’ll tell him that I will need more coverage for the boom, and that I’ll opt not to roll the lav track when problematic. And if he still wants me rolling the lav all the time, then I might just show up to set with a rented COS-11. I wholeheartedly agree with protecting my reputation, but at the same time, I don’t want to make it seem easy to get a lav out of me without some consideration and/or compensation beforehand.
  12. How to hide a Sennheiser ME 2 on talent

    Yeah, I’m… not going to do that, haha. The closest I’ll ever get to passive-agressiveness is asking the director if he has budget for looping. We have no wardrobe department, my similarly-named friend. A low-budget shoot, so I won’t be seeing outfits until Day 1. Camera department is one DP, and he’s the director’s friend. Though he seems nice enough that I can get him to fight for more coverage for me.
  13. How to hide a Sennheiser ME 2 on talent

    Noted. The G3 isn’t mine, and trust me if it was, I would’ve had a COS-11 shipped with it. The director says he loves using the ME 2 for his corporate videography, but he does need to know that it’s awful for everything else.
  14. How to hide a Sennheiser ME 2 on talent

    Really well put. I’ll bring up these exact points to the director. Thank you. I know, it’s an awful conundrum! I do hesitate on spending my own money for lavs because, while the pay is pretty good for an ultra-low budget, it’s not that good. On the other hand, I may have a returning client here. I’m weighing my options on whether it’s worth it.
  15. How to hide a Sennheiser ME 2 on talent

    I have not, but I’ll test it.
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