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Christian Spaeth

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About Christian Spaeth

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    Hero Member
  • Birthday 07/31/1979

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    Besides work, I write, play and record music: www.belv.es
    Gear geek. Nature. Music. Food.
  • Interested in Sound for Picture
  • About
    Production sound for fiction, docs and commercials. I used to do tv episodical work for a few years but now I mainly do commercial/corporate stuff as it's more family friendly. Here and there I do some audio post, too.
  1. Finally a cheap and accurate Timecode slate?

    In my 10+ years of experience, the times I've been asked for a timecode slate I can count on one hand. So it never made sense for me to buy one at 1000+ €, however it would be handy to have something at times. Now Tentacle Sync made an app called Timebar and claims frame accurate TC display on iOS devices if connected via bluetooth to a Tentacle Sync E. https://itunes.apple.com/us/app/timebar/id1318315303?mt=8&ign-mpt=uo%3D2 Sounds very promising and could be quite revolutionary! Hats off to Tentacle again!
  2. Used Lectrosonics buying strategy

    I wouldn't discard the analog options. Especially if your alternative would be Sennheiser G3. A 211 is an excellent receiver, paired with an LMa or such you will later on be able to use that Tx with a digital hybrid receiver.
  3. Looking Into Buying Zaxcom IFB

    you can use any Sennheiser transmitter that is G3 compatible, so an SK 100 G3 or upwards. Though that one has only 30 mW, with the antenna mod many people have done on their G3s you have many options to increase range, although for bag use the range is very good as is. With a pocket Tx you will only transmit mono though.
  4. Looking Into Buying Zaxcom IFB

    Scott, maybe another interesting option for you is Sennheiser IFB (ew 300). I guess in the US most people use either Lectro or Comteks for IFB, but if you want AAs (Eneloops will run the receivers for a whole day), good sound quality (better than Comtek, maybe not as good as Lectro) and very good range (I mostly use them with a normal 30 mW pocket Tx and never got complaints on reach, but you could use a stronger Tx as well) and a good price, these are worth considering. There was a small box by Ambient a few years back that I used on a show. It had no built in TC generator, instead received TC wirelessly, so basically when the camera was too far away there was no TC being fed until the signal was back. Wasn't ideal. I think the product is discontinued.
  5. #metoo and sexism in general

    Useful advice here on wiring etiquette. Being aware of potential misreadings is very important. My impression is that on set there is generally less sexism than in other work environments, that things are more balanced. And there are many strong women in the biz (such as our amazing Jan!) which scares predators who are usually cowards. Another story is generic, non-sexist asshole behavior on set, which we all have witnessed.
  6. Boom and Live Vocals. Good lesson from 1955.

    Amazing performance! Here's a voice with technique, one can tell. Unfortunately this is no longer the standard with actors...
  7. Rates in UK / Europe

    You can charge 700 € per day for feature gear? I'm movin' to the Netherlands baby!
  8. new low cost radiomic

    So Zaxcom wireless is also not usable to you? ;-)
  9. Deal Memo after the shoot

    Fortunately I have always been paid in ten years, but a producer friend of mine learned this lesson about law: Yes, the law might be totally on your side, but if the other side is a big company with an army of lawyers, and they just choose not to pay you, for whatever reason, what are you gonna do? In the case of my friend the client (big agency) offered to pay half of what they had agreed on before, and said if he didn't like it he could go to court, but then they would pay zero. Since he couldn't afford the latter, he ended up just taking the money they offered and take a loan on his house to pay the people who had worked for him. Our job is small time, our rates peanuts to most productions (compared how much money gets senselessly burned everywhere in big companies), so I guess we're pretty safe in general to get paid. Well, my experience.
  10. PDR Lectrosonics

    Nice idea for the Alexa Mini Axel!
  11. Rates in UK / Europe

    I'd say 250-300 ish (€) for the basic kit, given you offer 4 wireless kits. Extra lav at least 50 €. Maybe others will chime in so you can get a good average. By the way, speaking of producers, I sometimes get the feeling some of them will always try to negotiate on labour rate but will often accept equipment rate, both regardless of actual price. And if we talk about proper commercials, prices are generally higher.
  12. Aston Origin Large Diaphragm Mic Review

    I had this at home... sounds good but (to me) inacceptably high self noise.
  13. Boom op-less

    Dude you certainly don't get to play the South Park card. South Park is a deeply political, thoughtful analysis of modern American society, that has absolutely nothing in common with the unf***able-white-male-trolling you spend your time with.
  14. Rates in UK / Europe

    I think the rate in Brazil doesn't have to be the same as in Britain, as general costs of living can differ significantly, so for foreign productions I think it's sensible to charge on the upper end of what you would charge for a local production. Now for the equipment, prices should be similar in all the world, as prices for buying the equipment are similar too. That said, I think 350 pounds including kit is too low.
  15. Which Schoeps mics for documentaries?

    Definitely keep your 416, it's a weapon for doc exteriors. Additionally, a CMC6/MK41 combo for sit down interviews and interiors. You'd be surprised how much reach this hyper has, while sounding great off axis (unlike the 416). Also maybe get another or two wireless. And if you haven't already, put a mic on the cam, hyper or shotgun, even a Rode NTG1 is fine for this, very useful sometimes in uncertain situations where you cant get as close as you'd like.