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Jim Feeley

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About Jim Feeley

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    Northern California
  • Interested in Sound for Picture
  • About
    sound, journalism, producing
  1. Deal Memo after the shoot

    So maybe the production company screwed up procedures that their client is insisting upon? > She accused me of committing a "felony" by recording my own phone call. So this is a concern. I'm not a lawyer but I do pay attention to laws surrounding recording events, phone calls, and all that. The Reporters Committee for Freedom of The Press (a great group, btw) says that Minnesota, where I presume you recorded the call, is a one-party consent state. Heck, so is New York: "Minnesota bars the recording, interception, use or disclosure of any oral, telephonic or electronic communication by means of any mechanical or electronic device without the consent of at least one party to the conversation." https://www.rcfp.org/reporters-recording-guide/state-state-guide/minnesota https://www.rcfp.org/reporters-recording-guide/state-state-guide/new-york Google around and/or check deeper if you want, but legally, at least, it looks like you're OK. In addition to the recorded phone call, you have the email, right? Anyway, the details you provide (no photos, disclosing the existence of the gig, etc) seems to make a stronger argument for not signing as is. Could they say, "well you violated this new contract by taking pictures and talking about it on jwsound. So we're not going to pay"? "They want me to fill out and sign the HelloSign e doc as it is." Are you up for saying, "I guess we'll stick with our original agreement, then"? And sure seems like you own the copyright to the audio if they don't pay you (perhaps unless you sign their new contract). Talking with a lawyer will most likely be expensive. What a complete drag.
  2. Deal Memo after the shoot

    > I'm now told it's "customary" for freelancers to sign a deal memo after the shoot. It might be customary for them because they're habitually disorganized. And to be fair, it could be the person who contacted you is perfectly organized but people higher up in the organization aren't. Happens a lot (so does buckpassing, so who really knows who's to blame...sure seems like you aren't). Sure seems to non-lawyer me that you and the company agreed to a contract and you performed your obligation. Time for them to pay up. Brief background written by a lawyer: https://www.nolo.com/legal-encyclopedia/contracts-basics-33367.html They're now trying to make changes to your existing contract. How hard do you want to push? How pigheaded are they (and more properly, their lawyer)? Probably best, even if you don't want to work with them again, is to come off as a good guy so they don't slag your rep to others. I do a fair amount of journalism and writing/producing where I'm handed grim contracts asking me to indemnify multi-billion-dollar organizations, and this is in situations where there really could be a lawsuit. I have insurance, but my insurer doesn't want me taking on the burden of possible frivolous lawsuits from cranky rich people/companies (think of Peter Thiel's various lawsuits). So I'm hyper cautious about this stuff...and that caution spills over into my regular hired-hand audio work and probably makes me more cautious than I need to be. But still. If their longer (and frankly new/proposed) contract clearly includes all the terms you agreed to in the original deal memo, great. But as Phil points out, look out for bummer indemnification language, ways for them to delay payment, and all that. If you see anything you don't like, cross it out. Since they don't want you to cross out the "supersedes all prior agreements" phrase, make sure you only agree to what you want to agree to. Or only cross out what really freaks you out (indemnification, no payment until they finish their work, their ability to not pay you if they kill the project, etc). Want to take a stand against THE MAN? Since they're asking/demanding changes to your agreement, you can request a change to your terms (e.g.,- more money to cover the time you're spending dealing with their proposed changes to your established agreement, quicker payment). And seems to me you currently own the copyright to the audio recordings you made since they haven't performed their obligation. But that'll really amplify their crankiness (and get their lawyer all excited...always a bad thing). Or suck up the time and just make sure to cross out the bad or ambiguous stuff. (Note that the whole "cross stuff out" thing will also get their lawyer all excited...) You know the drill: How hard you want to push depends on how much you want to work with them again. And how much time you want to waste on all this. Total drag. Totally common. Sigh. Good luck!
  3. How to hide a Sennheiser ME 2 on talent

    The bummer is the director, producer, editor, audience, et al are more likely to think "Daniel recorded crappy sound" rather than "our budget really screwed up Daniel's work." Finding a better lav to rent would be nice... Though I wonder how hard it would be to find a good rental lav wired for G3. Maybe see if you can find a quality used lav wired for G3 (or that the seller can wire...). Or solid Countryman, TRAM, maybe even Oscar SoundTech. Or like David suggests, try to not use that G3. Ya, spending uncompensated money sucks, but turing in poor work and possibly having your reputation tarnished.
  4. Boom Poles on Sale Today

    Never met anyone who's used one. It may be OKish, but I don't know if it'd last, if it's well made, or anything. Auray is a brand of B&H's "sister" company, Gradus Group, distributor of all sorts of knock-off gear. http://www.gradusgroup.com Geez, I'd probably chose a Rode pole over this. I'd definitely choose a K-Tek Avalon aluminum pole over something from Auray.
  5. DPA 4017B Vs CMIT 5U

    Sorry. I mean "smoothness" of transition as source moves from on axis to more and more off axis. Does on axis, slightly off axis, and somewhat off axis sound enough alike? Something I see as a strongpoint in Schoeps 41 and CMIT 5U... Also, anyone have any thoughts about ruggedness of the 4017 vs. the CMIT 5U? Rather, does the 4017 seem more delicate? Helpful answers everyone. At least for me. Hope they're also helping Brian. ;-)
  6. DPA 4017B Vs CMIT 5U

    Constantin and anyone, How does the 4017 handle the weather, humidity, etc? Also, did you choose the B or C preamp? Why? And how do shoulders feel/sound compared to the CMIT 5U? Thanks, Jim PS- Brian, hope I'm contributing questions to rather than hijacking your thread.
  7. In various regions, T-Mobile bought rights to 20 to 50MHz in the 600 band. Here's a decent article with a map: https://www.mosaik.com/news/mosaik-highlighted-in-fierce-wireless-mapping-t-mobile-dish-comcast-and-att-who-got-how-much-600-mhz-spectrum-and-where/ Is that sort of what you're looking for?
  8. This is happening pretty fast...at least in rural US markets... T-Mobile Activates First 600 MHz LTE Network First network switched on in Cheyenne, Wyo. BELLEVUE, WASH.—T-Mobile has wasted little time in getting its first 600 MHz LTE network up and running, announcing that it has lit up its first site in Cheyenne, Wyo. The new network is the result of the collection low-band spectrum it won in the FCC’s broadcast incentive auction, for which T-Mobile shelled out $8 billion, the most of anyone. T-Mobile received its spectrum licenses just two months ago, but in the official press release says it is aiming to create its new “super-spectrum” in six months. T-Mobile’s stated goal is to build out LTE coverage in rural America and other markets where the spectrum is clear of broadcasting. In addition to the Cheyenne network site—which is utilizing Nokia equipment—T-Mobile has plans to roll out additional 600 MHz sites in Wyoming, Northwest Oregon, West Texas, Southwest Kansas, the Oklahoma panhandle, Western North Dakota, Maine, Coastal North Carolina, Central Pennsylvania, Central Virginia and Eastern Washington. Rest of the story: http://www.tvtechnology.com/news/0002/tmobile-activates-first-600-mhz-lte-network/281645
  9. Stolen SD 688

    Fantastic news RD!
  10. RIP Glen Campbell

    Sigh. RIP. Just last month, I got around to seeing the documentary about Campbell, a big chunk of which was filmed during his last tour as Alzheimer's too serious hold. It's a nice film.
  11. Which Rycote Zeppelin? Navigating the maze...

    If you're comparing Cinela and Rycote, then I think you should compare the Rycote Cyclone systems. I have a Cyclone system that works very well (and is more transparent and lighter than my older-style Rycote Windscreens). I can't directly compare my Cyclone to Cinela's systems, though. http://rycote.com/microphone-windshield-shock-mount/cyclone/
  12. Dpa 4061 and double bass in beach

    Great stuff! And thanks for the pictures!
  13. Purchasing 2 mics for film: 8060 w/MZF 8000 & MKH-50?

    On the other hand, here and elsewhere on the net you've been asking for advice on which mics to get for at least a month, right? And it seems to me you're getting more-or-less the same advice from people. And as Glen and others have suggested, if you're dealing with a good dealer (say, one that specializes in location audio equipment...or at least one with an audio-aware staffer such as Dave Fisk) you can probably apply the rental price to your purchase. Try some different mics, buy what you like, learn to live with and work around their limitations (and bask in the glory of their benefits) and get rolling. ;-)
  14. Purchasing 2 mics for film: 8060 w/MZF 8000 & MKH-50?

    I've used my 416 once in the last few years. That was a few months ago on a hard doc, when a last-minute change sent us from inside to out in the rain with seconds to spare so I grabbed the mic that I least cared about possibly getting wet. Other 416 owners (who also own other mics): In the last five years, how often have you used your 416? And is it a primary mic, or more of a backup?
  15. I thought this article on The TANK Center for Sonic Arts was fascinating, inspiring, and encouraging. A Water Tank Turned Music Venue In Colorado, a uniquely resonant performance space. New Yorker By Alex Ross In 1976, the composer and sound artist Bruce Odland participated in an arts festival sponsored by the Colorado Chautauqua, which presented shows across the state. Odland’s contribution was to create a sonic collage portraying each place he visited. The last stop was a town called Rangely, in northwestern Colorado, on the high desert that extends into Utah. Odland was outside one day, making recordings of ambient sounds, when a pickup truck pulled up beside him. Two burly oil workers were inside. One asked, “Are you the sound guy?” Odland nodded. “Get in,” the worker said. Odland hesitated, then complied. They drove to a sixty-five-foot-tall water tank, on a hillside on the outskirts of town. Odland was told to crawl into it, through a drainage hole. He obeyed, now feeling distinctly uneasy. The guys instructed him to turn on his equipment, and then commenced throwing rocks at the tank and banging it with two-by-fours. Odland found himself engulfed in the most extraordinary noise he had ever heard: an endlessly booming, ringing roar. It was as if he were in the belfry of an industrial cathedral. The Tank, as everyone calls it, still looms over Rangely in rusty majesty, looking a bit like Devils Tower. Late one afternoon in June, Odland welcomed me there... Rest of the two-page (in the paper magazine) article: http://www.newyorker.com/magazine/2017/07/24/a-water-tank-turned-music-venue One of many paragraphs that stick out: “People feel a genuine awe,” Odland told me. “They may ascribe it to the Tank, but I ascribe it to the awakening of the ears in a predominantly visual age. Our ears get so abused on a daily basis. Our modern society makes a bad offer to them. We don’t use the hearing sense the way we evolved to, as hunter-gatherers interacting with nature. In there, you feel the sound on the skin, you feel it in your gut. What people are in awe of is their own ability to hear properly.” More on The Tank Center: https://tanksounds.org