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About carbonhobbit

  • Rank
    Hero Member
  • Birthday 01/19/1963

Profile Information

  • Location
    Somewhere between Iowa and Nebraska
  • Interested in Sound for Picture
  • About
    I record sound for out of towners but don't do much for local productions because I charge too much and any body can do sound.
  1. Digital-analog sync sound

    Your last set up isn't completely correct, if the camera rolls at 24 and then transfers to 23.97 and audio is rolled at 23.97, 48K, they won't sync unless audio is recorded at 48.048 and then played back at 48.00, then everything will sync together. That's the reason for the increased sample rate. This is why they need to make a decision now so when it gets to edit, everyone is on the same page. Scott
  2. Reality TV Gear Setup/Worflow

    A few reality shows travel with their own sound gear and all they are looking for is a warm body to carry it around for a day or two. Of course having worked with the type of gear they bring is a plus, but it is well used and not everything gets back to where it belongs. Being a problem solver helps along with some experience. Scott
  3. Your first sound setup or kit ever

    I started out in corporate and news videos where the people who had hired me supplied the equipment. As I learned about what other high end soundies were using, I would try to get some of what they were using. My first buy was a MHK-50 along with a 9 ft. VDB pole. My first mixer was a Shure 32a. First wireless was a Lectrosonic 201, block 26. My first blimp I won at the first RAMPS party in Vegas I went to, made by K-tek. The years have gone by quickly, but I have never regretted any equipment I have bought. I always wanted to have the stuff that people coming to town were use to using. It took almost 15 years to build my kit as I like it now and I look forward to add to my kit with a few more things. Have fun with your job. Scott......
  4. What's your day rate?

    Ok, Ok, I do believe enjoyfebruary has dropped his rate a little too far, but what do you do when the phone stops ringing? The bills are still there and as my better half has said, it's better than nothing. My market is dying, the biggest production house is down to a day a month and the up and coming group has no idea how to work with a crew bigger than two where they set up two cameras on the same subject with maybe a slider where a boom is fed into a camera. I just did a low budget movie only because the total would get me thru the month with a little left over. It was that or dip into what I didn't have left. The callers are telling me they are paying much less than my day rate and would rather go it alone than hire me. It's not about how many years I have under my belt (25) or how I can help them out on the shoot with an easy way to get their sound recorded and have everything go fine in post, no they are only worried about how much they want to pay me for my day. They seem to have forgotten that for me to be here in the middle of the United States, I need a certain amount to stay here so they can call me so they don't have to fly in a sound person. We have already lost one sound person because they couldn't keep their head above water because of insurance. Even I have been thinking about doing something else just because chasing the money is just getting harder. What are you to do when you become the buggy whip maker and all anybody wants to do is buy cars? I know good production can come back to a market, but how long do you hold out? Scott....
  5. Question about RF Scans

    Here's a question? Now that we have the wide band receivers and transmitters, how will we go about picking the right transmitter setting for hops if we will only have six blocks to choose from?
  6. What's your day rate?

    In my market, I'm the person with all the bells and whistles, but most of the locals will not hire me because I'm too expensive. So I have become the go to out of town person but don't really like it because I never work with the same group of people twice and the first day you have to figure out how they want to do the job and by the time you have them figured out, they're gone. And then there is always the fight to get the rate/with equipment and it make you feel like you're just the market sound whore where every day is a first day. Some days are fun, but other days are just a grind and I wish I had stayed home. Scott....
  7. Show me your bag

    Had a Soundbag Dashboard 664D milled down to fit my Petrol 614. Makes for a tight little set-up for my SD 664. Scott....
  8. comtek ifb noise

    The option 7 receiver says it is a line level output. I would think this wouldn't work with headphones.
  9. comtek ifb noise

    Maybe a case was broken and a transmitter was cased in a receiver's case. Plug the input cable into it and see if it transmits to the one working receiver.
  10. Life of NP batteries?

    Depends. How much you use them. Charge cycles. I have some that I bought in 2007 and I can still get four to five hours of them. I also have 9 volt lithium from 2000, some are still going, some died. I think it's like licking a tootsiepop, the world may never know. Scott...
  11. Cardioid on location

    Experience begets experience, you now have one day under your belt. Your mics that you have chosen each have their place. A lot of dialogue is recorded with the 50 and you can use other mics if you need the reach. There is no one right answer, but at the same time there is not always a wrong answer. As you work with other mics, you will find the mics that you find work best for your location. Good luck on your education. SL......
  12. And this is why I can't find a job...

    Once you are on your skies and tethered up to the camera, you can just let the camera op pull you around. L&D the snake when you are done. Scott......
  13. An entryway to a building standing in the threshold. As a mother would say,"Are coming or going, make up your mind." Scott....
  14. Sharing metadata on set: which way will it go?

    The other company I work with does accept sound reports from me and the 2nd AC does detailed camera reports, but I hear that during edit they still wade thru every take to make sure they don't miss the perfect take. I'm amazed that the Red camera hasn't adopted some form of input where they could have the take names the same as what I enter into my SD recorder. But then I could see where the AC's would complain that they wouldn't be ready when a take's name would change at the last minute. The glares I get when I'm trying to change a file name can be unnerving. It would be cool if one person could enter the take name somewhere and it would be update to all devices through a two way communication system. I just don't know if this person would be the DIT or maybe the script sup. Just as long as everybody doesn't have to input by themselves and all have the same meta-data so that someone doesn't get left out of the chain. That way when edit gets the files all the file are in agreement and the software would match all the files together in sync. Scott.....
  15. Sharing metadata on set: which way will it go?

    After working on a project where the production company lives with plural eyes and doesn't want to be educated on the ways of slating with timecode, I don't know how you push this idea when the production company sees the work flow as a waste of time. I myself don't believe in this idea, but I have learned to go with their flow. Scott......