Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1
  1. I lived through the rise of both "video techs" and "super-editors". When video got portable enough to become a popular production medium for real jobs but wasn't portable enough yet to have all the technology within the camera, a new and very powerful category of crew person, the "video tech" or "technical director--TD" was enshrined as boss of all things video. In a great many cases they began doing the audio recording as well--handling both camera-tweaks and sound. This cost me a lot of work, and I even briefly considered trying to become a video tech myself in order to keep the clients that had cut me, a sound-only dude, loose. So what happened? Technology changed, DPs got back up on their hind legs and today the "video tech" is gone, except for really large multicam jobs. And I'm still working. On to the "super-editor": in the late '90s there arose a multi-tasking sort of megalomaniac editor who claimed all post work on a project as their own, and sold themselves that way. Edit, color, VFX, animation, graphics, AND audio--they did it all. And then post got a lot more complex, and the demands for visuals etc got much greater. What was the first task they had to drop to make their deadlines? Audio post. And so I was back, again. My point: I've lived through a lot of technology changes, and come out of each one in a better position than I was in before, in spite of always having a short period of thinking "here it comes--this is the comet that kills the dinosaurs!". A last thought: when wireless mics got a lot better (like in the '90s) there was this kind of talk as well. Ditto re the advent of synths and samplers in music recording. Have some respect for yourselves, people!
  2. You do what you need to do to get along on a per job basis. Everyone (and I mean "the greats" as well) has slow periods and bills to pay. But having a stated low-ball normal rate is how you get pigeonholed as a low budg soundie (only) and how you keep the business in your area from growing.
  3. Ok. I don't mean to be mean, but I mean to be honest: you are a hobbyist, not a professional. You have another source of income, which allows you to undercharge for a person of almost any level of experience and a very decent, not-cheap package. It's good that you have a day-job, because at those rates you are probably not likely to get many referrals from other sound folks who are trying to live off their sound work. It is true that the lives and work of other people aren't directly your responsibility and that competition is to be expected, but the rate level you are in now is very hard to rise out of, believe me, if you have plans to move into sound work full time. My advice to you is to get what experience you can while keeping that rate on the DL, but then decide if you will be joining the rest of us as a full-time professional at which point you'll need to up your rates to continue living in San Diego.
  4. Clock mode just takes time of day and uses it as TC. It has nothing to do with how stable (or not) the sample clock of the camera is. If kind of close is ok with this client then rock on. I work for many people who expect frame-accuracy all the time, which with FS7 requires XDCA, external genlock and TC.
  5. This letter ought to be posted on the editor's guild website. He basically tells you what all those weapons sound like, with comparisons to sounds most people might know. He really went to a lot of trouble. I hope he got more than a T-shirt from Francis (and from Walter Murch)!
  6. But here's the deal, SD: now that we see that you were able to enable Dugan on the 633, how about that 688-style 3 band EQ? Hmmm? Yes, we are ingrates.
  7. I think Redco could make you this to your spec?
  8. Asses aside--I think adding some version of that output mute thing (like to the Auxes) would be great. It does (as was said) need 3 modes: off, on in pause, on during recording. I'm not sure how the middle one would get implemented, since the whole point is to automate the mute for forgetful harassed soundies. Would the "rehearsal mode" be an override? Via what control (can't be buried in a menu)?
  9. One of my wishes was just granted.....by SD.
  10. That is a major upgrade for sure. Big props for SD.
  11. Thanks--that was an interesting read....did they give him a thanks in the credits of A.N.?
  12. AND NO MUMBLING! Recorder makers: make me a "de-mumblizer" function on your next machine!
  13. The files "seem" to be @ 25 fps TC or they "are" @ 25 fps? WaveAgent will tell you what the TC flag on the files is. The camera is not syncing to the external TC (if that's what you did) in any case--it just uses that TC to label the frames it makes under the control of its own clock. Were they shooting "real" 24 fps or 23.976? In any case, since the Arri clock is so good and presumably your audio files were recorded on a machine with an equally good clock then the posties can do a manual sync, at least, and all will be well. WaveAgent also will allow you to change the TC flag of your files to any frame rate you want, if that helps.
  14. I would like to try this out if someone USA-side finds a source.
  15. There you go: "mic modeling" plugins that can make a fake SM57 sound just like a Schoeps CMIT! "Tape crinkle". I wish my DATs had had a "Tape De-Crinkle"!