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Philip Perkins

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About Philip Perkins

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  • Birthday 01/01/1

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  • Interested in Sound for Picture
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    Sound of all sorts
  1. Production Mix Structure

    A community of peers with highly divergent (and dearly held) opinions on how to get the job done. Living proof of there being a number of ways to skin this cat.
  2. Deal Memo after the shoot

    If the written deal doesn't contain anything onerous (as has been covered above), doesn't commit you to any future obligations and reflects the deal you made for the job you've already done then I say sign it and get your money. Yes--they are weasels, and you'll remember that, while mentioning that if there is a next time you'd like to see any docs they need signed BEFORE the job. If the new deal is attempting to slide in some new wrinkles then you'll have to escalate.
  3. Deal Memo after the shoot

    I want to underscore that these days you really do have to watch out for companies of any size trying to shift any liability to you. I have had numerous discussions with clients current and potential on this issue, and some see my point of view and some don't. At this stage of my career I'm not willing to risk working for someone who insists on me signing off on that sort of language in advance: if they send me the paperwork BEFORE the gig I take that to mean they are serious about it. Cross out what you don't like, send it back, get ready for a conversation about it. Contracts sent AFTER a gig has been done, where there was a verbal agreement made (hopefully by email or text) are sort of moot, they have to pay you whether you sign their contract or not.
  4. Large blimp vs smaller blimp

    Or "the Rat". Re bigger zeps for higher winds: yes. The size of the "dead air" zone around the mic capsule does make a diff. Years ago I made a doc in the Alps with a lot of very high wind on high mountains. For normal ambiances etc a small blimp (Lightwave 416 size) served the Neumann RSM 190i just fine. When the wind got really serious then a large Rycote made for that mic was used, to good effect (also on "out the window" micing from cars, trains etc @ speed). That Rycote is pretty large--not a great thing for overhead booming w/ camera re: shadows etc, but the greater size made a big diff in very windy conditions.
  5. Deal Memo after the shoot

    If the agreement they want you to sign reflects the verbal deal you made then whatever, although you might patrol the rest of the legalise and see if you are cool with it all (like watch out for requirements that you insure/indemnify/etc THEM and agree that you have various forms of insurance which you may or may not have) or stipulations that they don't have to pay you for some long period of time etc etc. It might just be a lot of NDA and work-for-hire stuff, which is pretty common in corpo-world anymore.
  6. "Standard" Gear Packages

    As I mentioned in 2014, if a producer is not willing to extend the same prep-time payment to me for prepping their gear or stuff from a rental house, as happens with Assistant Camera folks, then no deal. I also point out that the customization of gear and working methodology that all location sound people end up doing with their gear--including practicing with it and rehearsing setups, is what makes us as fast as what the producer is used to. VER was mentioned above, but they are far from the first rental house to heavily discount sound equipment rentals in order to get the full package rental. This kind of thing was going on at both a rental house and a personal level (ie camera people who owned sound gear they wanted me to use instead of mine) when I started in the biz 40+ years ago, and my advice to newbs is that you have to make using your OWN gear a cornerstone of your business if you plan to have a real business doing this work.... Unions may not like this stance very much, but it is the reality of being a location movie soundie for sure.
  7. I use Reaper all the time, but doing what you say re: TC would require someone pretty sophisticated in ReaScript to do--I haven't heard of anyone making this work yet (it would be great if they have). Meanwhile Boom Recorder does pretty much everything someone doing prod. sound would need. Having a Mac dedicated to BR isn't that expensive, and using a loc-recording computer for other tasks is asking for trouble in any case (you'll want a dedicated machine). Re: Sadie.....after 17 years of use all I can say is that it has never been the same post its porting to native and 64 bit.......and it is a walled garden. OMF in v6 64 bit is broken, BTW.
  8. NEW: Timecode Systems | UltraSync One

    Not jamming TC boxes is like breathing? Sorry, that just doesn't seem like enough of a deal to replace working gear. Small size is, but they need to get the connector thing more together to get me interested, that is a big deal. Skinny adapter cables with BNC females on the ends are accidents waiting to happen. For reference see RED cable 000-3....
  9. Digital-analog sync sound

    OK, 24 straight up--but maybe write up your working theory and post it to everyone in sight so you have plausible deniability when the posties come on the show....
  10. Production Mix Structure

    (One bene of the old "vertical" Hollywood carts and Nagras: the reels were turning (or not) right under your nose...)
  11. View From The Office:

    Full house on the Racque d'Amore recording @ previews for "Ain't Too Proud" @ Berkeley Rep. Big Broadway Fun--all stops pulled out. Tony winners as dept. heads, director from "Jersey Boys", huge cast of Broadway singers+dancers that sing and move like the real Temps (and Supremes etc etc) and a 12 member band of mostly NYC show players--flawless, amazing. I spent 2 days pinching myself blue that I was working with these folks. They have Really Big Plans for this show, Broadway, tours and....?
  12. Digital-analog sync sound

    Anyone from production or camera that says the word "24" to me immediately gets asked the question "do you mean 23.98"? The answer is "yes" 99.9% of the time but you have to ask. If they shoot film @ 23.98 then the telecine is 1:1, 788 @ 48k and Nagra @ 60 Hz are the important numbers, because the audio file TC can be whatever you want it to be and be changed later if someone wants it different. If they have to have TC on the Nagra and no one from post (esp audio post) is around to cast a vote then I'd go 23.98 or 29.97 fps. And warn the production that post needs to do a workflow test before they crank up the machine, so to speak.
  13. Production Mix Structure

    Have you had a chat with the director and editor about what sorts of tracks they'd like to have avail in post? Do they like getting a worked-over mix, or do they intend to move right into using PF isos in their cut? Do they have a lab/boom mic preference?
  14. Digital-analog sync sound

    Are they shooting film? What fps? If the Nagra is just there to give them an analog sound on your prod mix then I'd consider doing 60Hz pilotone with a clap and voice slates. The TC-on-analog-tape thing isn't well understood by anyone doing data management anymore, so I wouldn't go near 48.048 unless someone signs in blood. Your 788 is 1:1 in transfer, a 1/4 tape with 60 Hz can be the same . If they are doing film and USA telecine with pulldown I think I'd still do this.
  15. RIP Walter Becker

    RIP indeed. The gold standard for modern pop music recording and well-crafted songs. RIP also John Ashbery.