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SeanMAC

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About SeanMAC

  • Rank
    Member

Profile Information

  • Location
    Idaho
  • Interested in Sound for Picture
    Yes
  • About
    Sound Mixer in Idaho, with a few months out of the year spent in LA. I do all kinds of audio work. Mainly production mixing for narrative work (Indie, Hulu, YouTube Red). Also do smaller scale post production work (Pro Tools).
  1. Lectro UCR411a vs. LR

    Can anyone explain why the 411 is that much more expensive? Still a bit confused on this. I understand the technology but I think I might be missing critical info on manufacturing costs and such. My feeling is that it has to do with the front end filters, but I'm sure there's more to it. Why the jump in price?
  2. Frequency Coordination

    For multiple wireless systems, what is your protocol? How do you space your frequencies? What anomalies have you found?
  3. Camera Hops

    Let's talk about it! What setups do y'all use? What cameras have give you the most headaches? Timecode/scratch/mix? How do you tackle it?
  4. Multi camera question

    I might've missed it somewhere in here, but the big multicam shows often times use 1-2 Fisher 7's. Basically a boom you can sit on (similar to a dolly) that has a telescoping arm. YouTube Fisher 7 and you can see one in action (an operator attached a GoPro to the arm so you get some neat perspectives. That is why blocking is so critical in those shows. The boom ops need to know where they can be, and where they need to be. They are some of the best in the business. It's a very elegant skill.
  5. Reality TV Gear Setup/Worflow

    Doc Justice that would be excellent to get your take on everything. Allow me a few days to compose a coherent set of questions for you and I'll get in touch for sure.
  6. Reality TV Gear Setup/Worflow

    Thank you guys so much for your replies! I really do appreciate the insight and advice. My main thing is that I know I'll probably need an antenna/distro setup for my wireless, because I don't see regular whips getting me by with 3+ cameras running about. Any words on that side of things? Gear/setup you've seen/worked with that helped boost range and eliminate dropouts? I've found a bit on the forums here but just curious if y'all had anything to add.
  7. Hello fellow soundies! I'm looking down the barrel of a reality tv gig, and want to know any and all experiences. More specifically, what sort of gear setup you had (as it is of course wireless intensive), and the workflow (ISOs/mix/lockits etc). And generally wondering if there's anything in particular on reality tv that sound crew is responsible for (such as doing commercial work we're generally in charge of/expected to provide smart slates). Anything and everything, let's hear it!
  8. Rental Rates

    Bash and Waelder, thank you for bringing up that thought, I was so wrapped up in this plan I hadn't even considered that something unforeseen could happen (talent getting injured etc). I thought I had a bit more clairvoyance than that, but apparently not at the present moment haha. Thank you! Now, another question for you gents and gals. How have you (or others you know of) faired in taking a loan out for equipment etc? Did you go the small business loan route? Some other way? Borrowing from friends for sure, I'm just curious as to your experiences and thoughts. Also I'm wondering if any local bank/credit union would take into account that I'd be working on a TV show etc. Not a big deal (even an annoyance in LA) but here, it's the coolest thing this side of Christmas. Obviously the institution will have its policies, credit check and so on, just wondering if it holds any weight whatsoever. What say you on the subject? Or on anything related/similar situations? Thanks again y'all.
  9. Rental Rates

    Great stuff you guys (and gals)! Thank you again for the feedback, although I'm sad that I didn't check back in time to get the chance to read the deleted post? Not sure what happened there. I absolutely agree though, we should all push against that "day rate and done" type of deal. Not good for anyone. I have another inquiry for you fine folks. For long term rentals when production will end up paying the price of the unit and then some in rental fees, has anyone ever heard of them just buying the unit outright? I ask because of this. Show is coming up, will shoot for 6-7 months. Even renting 1 wireless system at $25/day (which I think we would agree for the most part is on the mid-low end, over 7 months it would have been cheaper for them to just buy it. So, to get to my point. Say I wanted to upgrade my wireless systems. What say you all on the proposition of "Production buys the units outright and then I rent/buy them back from them? Has anything close to this scenario ever happened? I know some people just buy units on credit pretending they owned them already and use the rental fee to pay the purchase fee, but I'm curious to hear your guys thoughts on this. I've mostly convinced myself that it's wishful thinking, but then again I know producers and if I could guarantee I would save them a few thousand out the gate guaranteed AND I get new gear, what would stop that? Please, relent all insight/wisdom/tough love upon me. I am prepared for it all. Again, I'm so appreciative of all your responses, it is incredibly helpful to have such a cool and knowledgeable community to draw upon when I have questions such as this.
  10. Rental Rates

    I really appreciate the feedback! Wasn't expecting this great of information. Another note, would you think it appropriate to charge a premium if the location is several hundred miles from any rental house that would have anything like it? And I mean the closest place that rents any sort of pro audio gear (SDevices, smart slates, lectro/zax) is well over 500 miles away. Any special treatment with this situation or just go about it as you said, value it according to time of shoot and budget, referenced against the rental houses etc? Again, thank you so much for your replies.
  11. Rental Rates

    I've been working as a production mixer for a couple years and am starting to work with bigger companies and more established productions. I'm looking to my fellow, more experienced mixers to help me with building a sort of formula for what I should be charging for gear (for true productions with an actual budget backed by a network). Wireless systems, camera hops, lockits and the like. What do y'all use as sort of a baseline? Is it a percentage of the actual value of the item? What items do you sort of bundle together? Looking forward to hearing your thoughts on this. Any input is greatly appreciated.
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