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Philip Perkins

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About Philip Perkins

  • Rank
    Hero Member
  • Birthday 01/01/1

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  • Location
    Earth
  • Interested in Sound for Picture
    Yes
  • About
    Sound of all sorts

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  1. Philip Perkins

    Rechargeable Batteries for TX

    There's no point in opening up the 552--the batteries are in a metal tube inside the mixer. You have to get a long drill bit and drill into the exposed end of the battery, then screw in an Easy-Out so you can turn the battery out of the tube.
  2. Philip Perkins

    Plug for Reaper

    And....I (OP) converted my studio to Reaper as the main DAW about 2 years and haven't looked back. Lotsa film mixes, lotsa album mixes, location recording off of the USB out of FOH consoles, lots of location under-fire sound editing---and cheap enough to have a legal copy on every computer we have!
  3. Philip Perkins

    Broken gear on a shoot, production won't pay!

    I'd advise you to not think you can talk (to clients) like a lawyer if you aren't one. An agreement beforehand is a good idea, but people and corps ignore or break such agreements every day, they aren't a panacea either. For your situation I recommend persistence before legalities, since the damage is already done. If you really are holding all the audio from the shoot someone will have to talk to you at some point.
  4. Philip Perkins

    Broken gear on a shoot, production won't pay!

    In the USA the "annoyance" fee is interest on unpaid invoices. That has to be agreed to beforehand, but that's why that interest charge is there: you aren't this guy's banker. I'm not clear if you have copies of the production sound for this guy's film or you have ALL the production sound files--like you haven't turned anything over yet. Do you have a contract or deal memo? If so what does it say about "work for hire" and ownership of the work? Having been in location-audio "hostage situations" in the past, a great paranoia of mine at the time was responsibility for what at that point were the only copies of that sound in existence, while negotiations were going on....be careful. But holding the recordings until payment in full has worked for me on occasion.
  5. Philip Perkins

    Broken gear on a shoot, production won't pay!

    Do try to communicate with this guy personally about how what might not seem like a big loss to him is to you. I've never had any luck framing this kind of thing as a moral issue, more as something about my livelihood and a comparison to, say the camera rental or rental of vehicles for the show, where he was for sure responsible for damages. If you do end up in court a judge is going to want to know how much effort you went to to get this guy to come around before you went legal on him: like the extent and manner in which he's blowing you off... Is there anyone else with a similar issue with this producer? Any witnesses to what you guys talked abotu? Is there a chance, sorry to say it, that YOU misinterpreted what was agreed to?
  6. Philip Perkins

    Broken gear on a shoot, production won't pay!

    If the guy won't talk to you in person about that convo you had re: loss and damage before the job, like discuss the matter like an adult and present his (apparently different) view of what was agreed to, then your next options include legal action in what in the USA is called "small claims court". But I would very much recommend giving this producer a few more chances to come around. How much money are we talking here? A few broken lav mics? Lost Comtek rx? A slate that got dropped too many times? Or something more serious, like the loss of a recorder or a whole rig? Did the losses in question happen when you were using that gear, or someone else? Does it seem like it was all a random accident, or caused by inattention, laziness or other unprofessional behaviour? You need to build your case...right? I'm sure you will be told that you should have gotten that promise in writing, which is true, but now you need to figure out how to move on from here...
  7. Philip Perkins

    IFB on the cheap.

    If you find some used Lectro IFB RX in B21 for $350 please let me know. They don't come up used in USA legal blocks that often (and I look). That's the problem. I like how they sound, esp for discerning folks, but you are handing them a $550 device. Comtek 216 RX aren't cheap but they are way cheaper than that, AND you can scale up from rentals pretty easy if you have to.
  8. Philip Perkins

    Sony UWP Wireless System

    Do you like the UWPs better than Senn G3? Better range? Battery life? I ask because my fleet of G3 camera hops is now non-legal, and I see lots of folks going with UWP as a substitute. Re that UWP headphone out, in the pix it looks like there is some exposed thread on the connector, so maybe a mini plug with a locking collar would work with it? thanks
  9. Philip Perkins

    Nagra Stories Sound-men won’t ever tell

    I went with HHB too, but the bitter truth about all those "pro" TC DAT machines was that the transports all came from the same two factories in Japan no matter what the nameplate on the outside said, and it was finally those transports that were "the problem". I had a TCD5 with the 60 Hz mod (and its resolver) from Super 8 Sound. It worked, as a plant recorder, a backup etc etc. Those early non-TC DATs made them suddenly not worth the trouble... Like I said--I will never understand how we were able to get away with doing so many horrible things to those early consumer non-TC DAT machines and they kept working, while their high-priced TC-capable cousins gave me so much trouble....
  10. Philip Perkins

    Rechargeable Batteries for TX

    Excellent, thanks.
  11. Philip Perkins

    Rechargeable Batteries for TX

    Do the Eneloops swell up enough in use that they are hard to get out of Lectro SM-series TX after they get hot? Sound Devices mixers and recorders?
  12. Philip Perkins

    Nagra Stories Sound-men won’t ever tell

    Sorry for the thread diverge, but I agree, JW. I had much better "luck" with the cheaper non-TC DATs as sort of "combat" recorders than I did with the pricey TC decks on dialog jobs. For a few years I stuck with using a Nagra (Harveymod) for all the sync "talking" shots and a non-TC DAT (mostly Casio DA7s) for everything else. The portability of the non-TC DATs really helped with the sort of culture-nature-10-mile-hike-uphill-with-gear docs I was doing then, and somehow those little machines more or less never failed in rain and heat and snow and desert and out on the water etc etc. The tears were all around the easy stuff somehow: recorder on a cart recording actors! Odd, weird, glad that's all way in the past.
  13. Philip Perkins

    How can boom ops be more diplomatic?

    Well done all around. You understand how this works--it is a people business.
  14. Philip Perkins

    Nagra Stories Sound-men won’t ever tell

    Pretty stuff. It's odd to be discussing DAT in this thread, as I don't believe there will ever be a "J Bond" for DAT recorders--if there was he or she would have a collection of ugly non-functional junk! Collecting old kitchen blenders would be a more rewarding hobby! If there were DATs around in 1984 I would have been all over them, but I'm pretty sure they weren't available anywhere then. Portable digital audio recording at that time meant Sony F1-type interfaces recording onto VHS or Betamax decks. Like Jeff I began see grey-market DATs in '88 or so. At the 1988 New Music America Festival the house recordist for the New World Symphony was using a VERY expensive non-standard Sony portable DAT machine that I can't recall the name of--that was avail about a year or so before the D10 and the Aiwa "Strasser". After that time DAT was adopted pretty quickly in the non-movie sound world, it took some time to convince motion picture post to change (as Jeff will attest). And whether or not that all was really a good idea is a topic for another thread....
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