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.
  1. There is no single number, unless you set one and the seller agreed to it. Otherwise the transaction is complete upon receipt of the goods. There is no warranty on used goods unless one was negotiated in the sale. This is one of the big reasons so many here make statements about buying from people they "know", because much of the transaction is based on trust. In my opinion, used gear should be tested right away when received, ideally same or next day, and any issues should be brought to the sellers attention immediately.
  2. Sounds like a really fun trip. Personally I think your ability to search out and find unique sounds, and how you go about recording them will have a much greater impact on your final product than what recorder you use. There is no substitute for good mics imo. You may find your needs evolving throughout the trip, and you can always ship another piece of gear in whenever you are in a city. I would suggest not spending your efforts trying to nail down the minutia of differences between a zoom and an SD, and spend your time planning your trip and searching out places to go with unique sound scapes and beautiful scenery. Some of the best places I've ever been took a lot of effort to find and get to, and even if you capture those moments less than perfectly, you will still have a better end result because the experience will be unique.
  3. I work with a VTR guy here who swears by cable reels. Funny thing is his assistant hates them and swears by over under. They have to coil and uncoil hundreds if not thousands of feet of cable a day. So yeah, a very polarizing and personal subject. Personally I can see the advantage for long cables. My 100' XLR's are a bit of a pain to manage just coiled, and if you ever lay them out with knots it can be a real time suck to undo. Overall I find I'm really fast at over under cable wrapping, so I figured the cable rolls wouldn't save me time, and I steered away from them because they take up more space in the van than just a crate of coiled cables. When I'm doing jobs with a lot of cable out like music gigs, my van is usually completely full so the extra space became the deciding factor for me.
  4. @al mcguire that would be simple if the mini accepted it without a modification, but not all mini's are modified this way. @mikewest the DIT I'm working said he thought he remembered the denecke box & Alexa mini combo were frame accurate. Trusty old Denecke. It does bring up the question of what is different about the TC stream that would cause the mini to be on or off??
  5. I have been working with a local DIT here to track down the source of a 2 frame offset when working with an erx on the Alexa mini. Fortunately it's a constant 2 frames, and doesn't drift, so it's easy to adjust for in the erx menu. Testing at home by syncing 2 Nomads with an ERX and clapping a slate, I do not get any offset, so I imagine it's something with the ERX and Alexa Mini combo. I have not checked the sensor settings on the cameras I've worked with recently.
  6. I have had no problems chaining through a thunderbolt 2 adaptor so far. After using the MBP for a few months now, I don't mind the switch to USB-C/TB3. I bought a few cables to connect the things I need without dongles, and never looked back. I do miss having a mag safe power connector though. Charging through either side of the computer is convenient, but losing magsafe is probably my only complaint about the machine. To my surprise, PT HD 11 hasn't had any problems running on it on Sierra, despite not being qualified. The internal storage is impressively fast, I'm very glad I spent the money for 1TB internal instead of just relying on slower external SSD's.
  7. I've used Apple boxes to scare away loud birds right above set, but it doesn't really help with the ambient level of birds all around. I have seen a house here that has high pitched chirping played from pizzo electric horns mounted with the security lights, I assumed it was to keep birds and rodents away from the house and lawn features. If it actually works you could potentially playback really high pitched noise on set to quiet the birds. I'll pm you info about the house so you can check it out.
  8. My time is my time, regardless of what I'm doing. Travel, Scout, Mix, Idle, I charge the same labor rate, otherwise I expect that I can be available for other work if it comes up.
  9. Thanks for the insights. I agree about the wire mesh interference tube. I'm always nervous they will get crushed.
  10. John, have you had any issues with the small rubber suspension that holds the 4080? I demo'd some 4099's hoping the suspension would help with vibration noise, but the thin rubber that suspends the mic felt so flimsy to me I didn't trust it would hold up. I find the 4098's to be fragile enough, I was worried the 4099 wouldn't handle any real production work. I'm assuming the 4080 suspension is the same as the 4099.
  11. Personally, I keep cables for all the cameras. Currently I only keep 1 cable for the mini, and I request that if there is a b cam it has an A box. I'll probably add a second cable though since most of my work recently has been 2 mini's. I don't charge for specific cables, I include them as part of my timecode package which is an add-on to my base package for any TC capable camera. I charge for a TC option which includes a TC slate and 1 ERX (with cables), then I charge a per additional camera fee. So far it's worked well for me and more than covered the cost of the dozen cables I have to keep.
  12. I would 2nd the suggestion for 2 booms, 1 that follows each camera, or just split the table in zones. If production won't go for that, I would look at and evaluate what portion of the table you can easily and quickly cover with your boom from one spot, then use plant mics to cover the (hopefully) 1 or 2 people you can't cover. Work with the cam ops to see if they can generally cover the scene around your spot that gives you the most coverage of the table. Maybe leave a seat open at the table where you would stand so they have no incentive to shoot that way and giving you a space to live that isn't restricted by lighting etc. This is assuming a little bit of preparation on the day. If you walk into the house rolling, well, then it's all up to your instincts and experience at that point. The other thing I'd suggest is talk to the director and see if it's more important to cover every speaker and all of the exchanges so they can use the convo on it's own, or if it's more important to just follow who's on the lens.
  13. I now put small hair rubber bands on the bottom of the foam windscreen to hold them on since they fall off so easily. I also keep small pieces of 1/4" neoprene to isolate a plant mic/TX from vibration. It's been working well for me.
  14. IME on lower budgeted films (union and non), if they don't want to hire VTR, video monitoring is given to the camera department, who usually doesn't want to be responsible for it. Then they want to do playback off of camera. 600 and 695 both fight this, especially focusing on the playback from camera part, but I still see it happen on union films. I personally would not take on the responsibility of video playback as a sound mixer. I don't see how I could still be an effective mixer while tied to video playback when I should be addressing noise issues and working toward the next scene. They can ask, but you don't have to say yes (and to this you shouldn't)
  15. I didn't consider using the DNS to help you set a threshold for what post can and can't easily take out later. Basically a live audition. That could be very handy.