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NMW

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About NMW

  • Birthday 01/01/1

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  • Location
    NYC
  1. The Sanken CS1 sounds very nice on interior dialog in my experience. I recently boomed for an experienced mixer who uses it all the time. It has the short shotgun mic form factor but it doesn't give you the unsatisfactory off axis response like other shotguns. Street price is $825 but they show up on ebay for a good deal less than that.
  2. Jan, I recently boomed on an indie film in NYC, and the 2nd AD was proudly wearing one of your "Friend of Sound" pins. He mentioned your name, which I recognized from this forum. Putting out conversation starters like that seems to be a great marketing tool!
  3. I like Eric's approach, that is generally how I operate. I will of course allow for 30 day invoices with established companies or people I have worked for in the past. I am, however, in a bad situation like this myself. I am owed a good deal of money by a production company that promised to pay in mid October. They are telling me about various ways they are trying to get the money but it's just not happening. Basically they operated outside their means as Philip described. I'm not sure what to do about it. It was for a cable show with producers I have worked for in the past (under a different company) so I trusted them. Would anyone recommend taking legal action in situations like this? It seems to me that if they don't have the money, they never will, so I'll never recover what I am owed.
  4. Jay, That's good to know about the 500. I have worked with that camera several times, but never while running double system. Does that mean you use REC RUN for timecode so the 744t follows when the camera is rolling? My question is more about if/when you would use a multitrack recorder on an ENG shoot in general. Especially when the shooter is rolling and cutting on the fly, like during a documentary. -Nick Williams
  5. I have a related question to the OP. The majority of my jobs are booming while mixing from a bag. This audio always gets recorded on camera for documentary or ENG type jobs. I bring a recorder sometimes as a backup, but I really only use that as the primary recorder for scripted projects. My question is this: is it common to use something like a 744t to provide iso tracks for run and gun projects using cameras that can only record two tracks? If so, how would you handle rolling and cutting the recorder if you are shooting documentary style (or "vérité", or "run-and-gun")?
  6. I did the same thing once, but my batteries have no noticeable problems after 3 months of regular use.
  7. Where is a good place in NYC to find electronics parts or electronics surplus type stuff?
  8. Hey Folks, This is Nick Williams, I'm based in Brooklyn, NY. I've been lurking on this msg board for a while. I figured after learning so much from everyone here I should introduce myself. I've been working in production sound for 2 years (pretty much a newcomer to the game), mostly on reality TV and low budget indie films. Right now I'm working on anything I can and learning as much as I can, trying to make a career for myself. I would love to chat with anyone doing sound in the NYC area since I don't know too many people out here at this point. I fly solo a lot. Here is a pic of me recording some music for a film in northern India (waaay up north). You can hear some of the recording here: http://soundcloud.com/nicholaswilliams/thiksey-dance-festival?utm_source=soundcloud&utm_campaign=share&utm_medium=facebook&utm_content=http%3A%2F%2Fsoundcloud.com%2Fnicholaswilliams%2Fthiksey-dance-festival It was recorded with 2 schoeps CMT44's into a Tascam HD-P2.
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