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Wandering Ear

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About Wandering Ear

  • Rank
    Hero Member
  • Birthday January 1

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  • Website URL
    http://wanderingear.net

Profile Information

  • Location
    Seattle
  • Interests
    Sound, Bikes, Beer.
  • Interested in Sound for Picture
    Yes
  • About
    I am a production/post sound mixer. My work covers a wide range including television, movies, and commercials.

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  1. Wandering Ear

    Sonosax SX-R4+

    Personally I like the super small fader panel. I have stayed with my mix8 instead of an oasis mainly because of the size. There are 4 main things I'd love to see on a small control surface. Transport controlls Trim knobs PFL buttons Slate /com button
  2. Wandering Ear

    Something is up with the HTTPS version of the site…

    I think a JW subscription option is a great idea.
  3. Wandering Ear

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    Never thought about doing it that way. A bit cumbersome, but could work.
  4. Wandering Ear

    MixPre Series Firmware v2.20 May 24, 2018 - Link

    I'm in the same boat as AFMY and Phillip. I have had many conversations with commercial producers about always keeping the comteks silent except when rolling. Directors too who don't want client listening in on how they direct talent so they only provide feedback on the take, not on the direction. A roll / cut based mute feature would eliminate a lot of other set conversations that I often have too, not just about client and director. I am in such a habit of having everything muted always and pfl'ing when I need to listen (still wish the nomad pfl worked better than it does because of this) that I often get semi-panicked notes from camera/vtr that my reference hops or hardlines aren't working cause there is nothing showing on the meters. Then they ask me to open a mic and I have to explain why I can't, but can send them tone if they want it. I would love to be able to choose to mute certain outputs except when rolling, but not others. I have no interest in leaving some mics open (I can do that with a fader), for me it's all about an individual output control. I would have built a box for this for the nomad already except you can't use gpio and a fader panel at the same time on that system, and the fader panel is way more important to me.
  5. Wandering Ear

    Zaxcom qifb linking question

    The zaxnet remote control commands are not related to the block of the receiver, so yes. However you need the qrx with qifb to be the last unit in the chain as far as I remember. It's been a while since I tested that type of setup. Always worth a call to Zaxcom to verify if this is going to influence your purchasing decisions.
  6. Wandering Ear

    Tentacle sync e + nomad at 29.97

    Nope. Tentacle's solution was to use their product as the tc master, which doesn't always work for me. They said they'd look into it, but it'd take a while and they weren't sure they could fix it. Unfortunately I just consider my tentacles unusable if I'm working at 29.97.
  7. Wandering Ear

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

    For me it was as much about setting expectations before starting a job, than about winning a high dollar law suit. Even if parts of it could be undermined in certain situations, it sets the intent of the relationship. I've also found it makes working with regular clients a lot smoother. I'm in no way an expert on contract law, and don't desire to be, I did speak to an attorney for a while to help me understand the approach and it's ramifications.
  8. Wandering Ear

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

    After consulting with a lawyer and thinking about it for a while, I have taken a slightly different approach with the rental contract. I found getting signatures a pain for everyone (myself included), so instead of asking for a signed contract I provide terms and conditions on my rate card, including a clause that stipulates production agrees to these terms by hiring me etc. Of course deal memos can supercede these terms, but it at least gives me a baseline and covers me on the majority of jobs I do.
  9. Wandering Ear

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

    I agree with Phillip, pleasant persistence is one of your best tools. In my experience, threats will stop the conversation and not work. If it was for more money I would suggest a quick call to your insurance company, as they may be willing to pay you for the damage and then go after the production companies insurance for reimbursement. This has been the case with some colleagues of mine who have sustained losses on set. However at $1k it is probably not worth involving the insurance companies.
  10. Wandering Ear

    a dialogue editing roundtable with some big names

    One small upside, charging per lav (and per ifb) is an easy justification to producers for the cost of our equipment. While "wire everyone" may not be the way any of us would choose to approach production, at least we can charge for it.
  11. Wandering Ear

    a dialogue editing roundtable with some big names

    I gave up trying to get clean slates, and am happy when it's audible, and on tape (aka camera doesn't roll and slate before the AD calls rolling). I don't see it changing, but I thought it was an interesting request, and of enough use to him to point it out specifically. I agree the sweep files produce much better responses, but a clean slate clap can be a quick easy way to throw some adr lines into the same room with decent results.
  12. Wandering Ear

    a dialogue editing roundtable with some big names

    One ask I took away from this podcast is the request to get clean slates instead of room tone. I have all but given up on trying to get complete quiet for slates, as they are often seen as a burden to the workflow on set and everyone just wants to get them in as quickly as possible. I think it would also take asking the 2nd AC to pause for a couple seconds before running out of the shot after the slate claps. I could see a very reasonable bargain made with the AD - If I can capture clean slates we don't have to take time for room tone. Not sure how well that will continue to work as soon as the time pressure starts to add up.
  13. Wandering Ear

    Zaxcom TRXCL3

    I hadn't thought about using it for a board feed, but it makes sense. It'd be easy to bongo tie a half np1 or similar to the side, which would run all day. A trx743 works well for this, even though you have to pad a line level signal. I wish they made a stereo cone with an inline pad for this.
  14. Wandering Ear

    Zaxcom TRXCL3

    What additional functionality are you looking for from a camera hop transmitter? Full quality audio, timecode, camera return or zaxnet, recording, wideband. As far as a camera hop goes, this unit seems to have it all. If I needed wireless full quality audio on camera, this is how I'd be doing it. The vast majority of my work is dual system, or occasionally hard wired to camera, so it's not high in my current priority list.
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