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About JonG

  • Rank
    Hero Member
  • Birthday 02/23/1982

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  • Location
    Los Angeles, Ca
  • Interested in Sound for Picture
  • About
    Sound Mixer. Features, Docs, Commercials, Corporate, Reality, whatever.
  1. David Letterman new show

    I worked on a show with an ensemble cast of bearded gents, and hiding the mics under their shirts beneath the beards never posed a problem for me. However with a drone nearby, I don't know how one could avoid capturing that sound.
  2. 14 hour day

    My rule is to give yourself a high rate, and let that be your 10h rate. You'd be surprised how many people will just accept it because they assume you know more than them. Plus, the more of us that do it, the more of a norm it is. I for one hate showing up and then sitting around for a couple of hours before anything starts happening on set. This way people may actually start thinking about your relative call time, and if not, you'll be payed accordingly for your time.
  3. 14 hour day

    My way of fighting back is always quoting clients for a 10h day. Camera folks are never clever enough to try it, but I've been on shows where I got to wrap early because of what I negotiated and camera had to get b roll for a couple of extra hours
  4. NFL Boom ops

    I do at least one a year. The team I work for just wants me to transmit to their camera and thats it, so I just keep an MM-1 on my belt with their SMQV. Just follow their camera guy around and get what he needs. It's hard work but if I don't have anything going on that week when they're in town, then it's a welcome gig. The first year I used a 416 but found that it was kind of useless, so the next year I used an mkh70 and it was the perfect tool to get what was necessary, although quite heavy. NFL films uses a cmit5u but I prefer to use more robust mics in case of damage.
  5. Hearing Follow Focus

    If the DIT or AE is asking you about it, you should remind them that it is not you making the noise. I see more and more "cheap" camera accessories that are either noisy or cause wireless problems. Not much you can do except let the AD or Director know and put it in your sound notes. On a side note, those red dot cos11s are designed for loud environments such as screaming, so the amount of additional gain you may be applying during a regular dialogue take will likely bring up the noise floor, but I'm sure you already knew that.
  6. AES inputs on high track machines

    Could you imagine a cart with four 552s on it just to convert your signal to AES? The image in my mind made me laugh. However, having a cart full of cables to me makes the point of using digital inputs invalid to some degree. Coming from my standpoint, where I am using an analog mixer, I feel like we've moved past that cumbersome mess. But the Venues not having any kind of digital output makes that hard to build around without loads of cables. Maybe we will be surprised this year at NAB
  7. AES inputs on high track machines

    @Constantin thanks for your responses. Seems silly to spend $15k on a machine, and you still need to spend thousands more to get additional converters, just to get your audio in the box. Since Lectrosonics opted out of AES on their Venues, it'd be great if they or someone could create something to fill this gap at a lower pricepoint. I can see a single rack unit with DB25 connectors, you could easily get three or four sets of eight on a single rack space. Well, one can dream.
  8. AES inputs on high track machines

    That doesn't really answer my question though. If i need 24 tracks and my X3 has 16 analog and 16 AES, what are people doing to convert to AES?
  9. A lot of recorders these days are including AES inputs as a good portion of their i/o. I'm specifically thinking of the Cantar X3. If I were on a show using the X3 and needed all 24 record tracks, and I'm using Lectrosonics Venues, and I'm NOT using a digital mixer with AES outputs, then how do I get 16 channels of analog line-level signal into my Cantar X3? Ive seen a few AC powered options from the music world that are mostly 2 channel converter boxes, but if I were to use these I'd need an AC powered follow cart to house all these boxes. I guess I could use two Venues and six SRs with AES plates but that sounds like a huge pain that is more expensive than needs be. So then what are our options? What have I missed?
  10. Defending your Work

    A lot of times you get an editor who has no business editing or saying anything about sound, and tries to point the finger somewhere else in order to not be found out. I've had run ins like this myself, and the only way that I could get the matter resolved was to go into the edit bay, wearing my Pro-Tools certification shirt, bringing with me my professional sound bag, and a notebook from Sony Studios to take notes as they ran me through their workflow. Then I just said "well that is an unusual way of doing things, I recommend you use a dedicated post production sound engineer for this part of your work, I think that you'll find that there are no issues here with what I am delivering to you". Never had a complaint from them again. This was for an ongoing gig that went about two years. After that, production basically knew that he was incompetent but for some reason mever got rid of him.
  11. Help Me Round Out My Kit!

    Check to see what your local retailer has. PSC and Remote Audio both make good breakaways. Again, see your local dealers service department
  12. There may be a DC/Maryland sound mixers group on Facebook but you could start by reaching out here. I charge $650/10 + $350 basic kit here in Los Angeles, I would say those are reasonable numbers anywhere.
  13. @IronFilm truth. I too have had a good amount of experience on all fronts, and it's sad when you know more than the gaffer about how to light a scene without creating boom shadows, or how to navigate the menus of a camera better than the tool that was hired to AC, or the wardrobe ppl that can't seem to choose an outfit than has form AND function, or a producer who understands that they get what they pay for, or an AD who doesn't invite sound to a tech scout! lol
  14. Welcome to the rat race! My advice: don't bother with job sites, they're mostly there to just take your money. Get to know the other mixers in your area, befriend them, be a part of their community, and don't underbid them. Your network with them will be far more important than any other network realistically. If they can count on you to sub for them without underbidding, giving away additional gear or providing extra services to win over a clients favor, then you will be passed gigs and referrals from those people. But if you do any of those things then you will likely be blacklisted and it will prove difficult to get any work as word goes around that you underbid and can't be trusted. It is a business, so charge accordingly, be polite, do a good job, have good settiquette, and use common sense.