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Everything posted by daniel

  1. Rates in UK / Europe

    Fair to ask what gets paid in uk market and splitting the difference between the 2 seems reasonable. Btw BECTU PDF you link to says 340/10; 408/12 - which does NOT include kit, but I can see how a producer might make these 'slips'. Something I consider when renting my kit is what it costs to source a replacement if something gets lost or damaged and whether this is even possible. Eg, if it can't easily be replaced then more redundancy is needed (therefore more rental from somewhere), if local rates for kit are more expensive then charge more, from what you say I can't imagine it's cheaper. If the work is broadcast or big corporate client, 10-12 hour day min etc. you've got to hold out for what you consider a proper rate PLUS kit. There's no excuse for them not to pay.
  2. Rates in UK / Europe

    yes, oops, typo. corrected.
  3. Spring Clean

  4. Rates in UK / Europe

    This is right. As per bectu (i'm a member). The 5 day rates are essentially a pro rata extrapolation of the daily rates (which is wise because on a weekly booking you'll end up putting extra hours in anyway). I structure my daily rates a little differently from bectu but with a similar outcome. Eg for 10 (+1, for lunch) I'm 340 + kit, (which averages at £34/hr), but i'm actually charging 30/hr for the first 8, 45/hr for next 4, after that it should be 60/hr. I did this because I have a young family and wanted to encourage shorter days. 8 hour days aren't so applicable in broadcast or scripted scripted drama but for corporate clients it works well. Eg. for 8 hours i get 350 inc kit (8x30=240 + 110 for kit (633, 2 boom mics, 2+1 radio mics)), I'll even do a 5 hour rate when appropriate. If a broadcast PM is trying to get you on an 8 hour rate (for a 12 hour day, squeezed into 10 :-), they are taking the piss. On longer gigs I will agree to some kind of B.O.s to hold my take home, but only on agreement of a set minimum amount of recovery time (wrap to call) ideally 12 hours. If they can't do this then we have to look at other things. eg a hotel even if the work is considered local to my base etc. This last part is usually the deal breaker/maker for these type of gigs because they either have hotel options going on for some of the crew anyway so not so painful for them to add you to it, or they don't, in which case they'll go for the guy who sleeps in his van :-) or after the commute has less than 8 hours to wash, feed and sleep themselves.
  5. Boom op-less

    In some ways I agree (don't feed the troll etc), but we also see in some recent industry headlines what happens when 'we' don't call out attitudes and behaviours we know are hurtful, abusive and unfair on others. There's a tendency to let the obvious recipient/victim make the 'fuss' (perhaps in the hope others might step in). The truth is, we are all the recipients / victims of this behaviour because it normalises it and then 'green lights' the next thing. It starts with "i should be able to call X person whatever I want - free speech", progresses onto "my verbal abuse of X has nothing to do with their subsequent physical abuse by others", to "Its actually X's fault what happens to them because they are X". I put this to you, if 1 of your children (or young relatives) stumbles across this forum in 5, 10 or 15 years time, would you want them to see your fine contributions share page space with this guy's BS and see that the BS was ONLY challenged by the perceived recipient / victim and the forum (in a collective sense) was unmoved? If you're going to have 'free speech' and not moderate this stuff away, then people got to step in and speak up. It's not always easy, often quite boring but if we don't do it, we will in someway be indicted (collectively) by our inaction. imho. And I don't care if some particular organic matter (P.O.M.) wants to claim some absurd victory over a 'snowflake' because he got a rise, the point is somebody said something. History will put it in context.
  6. Boom op-less

    Maybe. But some throw nasty names around flippantly like a bullies in a playground seeking a bit of attention, then back away chuckling like it was no thing at all. You are typically under thinking it.
  7. Boom op-less

    Thanks for sparing us the wisdom of your insights for as long as you have, shame it had to come to an end. Did you get bored chopping on the 'red meat' your orange friend keeps chucking out there at feeding time or your return to posting OT tropes (on this forum) can be read as an indicator you feel his work is done? Btw, I looked for an antonym for 'snowflake' but none sufficed. A snowflake is a beautiful, translucent, crystalline structure produced by the weather and has inspired many to contemplate the wonders of natural phenomena. I was thinking the antonym needs to denote/connote some kind of opaque, unwanted, unpleasant, randomly formed debris, possibly an outcome of over consumption and bad waste management. The kind of thing accompanied by an unpleasant smell and is most certainly unsanitary and a potential public health issue. Almost insignificant, yet you might wipe away with a flushable product designed for the purpose. I'll happily be a 'snowflake' and call out your potty mouth, because to me you're like a bum crumb, soiling in this case, a conversation you've offered not a single positive contribution to with a word purposefully deployed to provoke and give you a little frisson, while slowly working your way through the environment to becoming part of just another sedimentary layer.
  8. Boom op-less

    Isn't it is inevitable for people who are established in a market/industry to want to protect pay, terms and conditions of good working practice for everyones benefit but people looking for a break and experience will find themselves in compromised conditions on their way to hopefully better things? What gets compromised is going to vary, try to learn what you can. On the low budget stuff, this will be true for most of those involved. Not having a proper boom op is a situation no one wants (and is always a terrible decision by production, even if you can't use the boom in the scene) but in the context, using the situation to develop your wireless techniques is not a sin and may serve you in good stead later on. There are plenty of proper paid jobs in parts of this industry where using a boom is not an option but you'd be right expect a boom op or assistant to help with the other things (eg a lot of wireless).
  9. Boom op-less

    totally agree with you, but boom in shot will give the guy doing focus another chance to get it sharp.
  10. Boom op-less

    If you're not getting union rate and don't have a boom op, ask for more (if the refusal wont offend you), iso all inputs, sum the tracks needed for picture editorial, and keep both hands on the boom pole. Take it from me, from someone who's been in a similar place, the shooting pains in the forearm you'll eventually get from trying to boom and mix a scene with anything other than a short pole are just not worth it for the type of production which will have 2 or more people in the camera department (often working with cameras and lenses way above their station :-), but wont 'pony up' for production sound usually because they've never taken a serious project through a proper audio post production process. Of course, you're also trying to catch a break and get on interesting projects, so this all needs to be done with a smile and not a hint of antagonism, quite a balancing act. You could go down the wireless only route (which will put a smile on faces of some camera departments) and keep all you fingers for a production mix but don't underestimate how hard you'll be working to get clean wires on all cast while doing all the other stuff as well. Catch 22 every time. Sadly the thing that'll look best to them, is if you can source someone keen enough to be you're (low paid) trainee and put them on the pole, you may not be able to use everything they do but it'll 'look the part' and give you a bit more latitude, eg less of an either/or (hopefully).
  11. Boom op-less

    Don't lower your rate because you have a boom op. you're now in charge of a department of 2 and therefore a bigger economic resource. Typically, if you're working with a genuine boom op then the budget is bigger, the overall crew is bigger, the whole thing should be more professional and therefore less excuse for paying below union rate.
  12. On My Radio

  13. Recording 160dB?

    Wow, that is some culturally specific reference point. Genesis P-Orridge / Throbbing Gristle / PsychicTV had their HQ, 1 street over from my first flat in Hackney (London). Apparently William Burroughs visited too. Lives now in USA, NY(?)
  14. NEW SMWB and SMDWB Lectrosonic units Announced..

    Considering Zaxcom don't have TX with a HP O/P it seems a bit of stretch to suggest other makers don't include HP O/Ps because of Zaxcom. The IP issue with those Tascam recorders was a Tascam mistake on a number of levels. I don't see how anyone could have stopped them making a mono or stereo recorder with generic I/P and O/P. Interfacing 1 with a TX could have been left for those smart enough to work how to facilitated this with a custom cable. As it stands, I or anyone could something very similar right now, in any market, with a zoom h1, any brand of TX and some custom cables.
  15. Cuban Sonic Spying?

    Seems a bit tangential but I like it.
  16. Cuban Sonic Spying?

    A lot less than a lot of other people are saying.
  17. Cuban Sonic Spying?

    Interesting, I wondered when this 'mass hysteria' phenomena would crop up here.
  18. Best mic for specific location

    Of course. I was trying to explain why it wouldn't work in theory or practice for canceling (wanted) or unwanted sound. The capsules need to be co-incident and have some difference in the signal they're responding to, that difference, ideally being the part wanted.
  19. NEW SMWB and SMDWB Lectrosonic units Announced..

    it might have been done through the lemo (if it had more pins) and a 'y' cable.
  20. Best mic for specific location

    Commitment! I sometimes rig 2 mics on suspension for purposes of testing but shirk away from doing this in 'anger' on a job.
  21. NEW SMWB and SMDWB Lectrosonic units Announced..

    Why more so than the smwb?
  22. Best mic for specific location

    The capsules need to be as close together as possible (eg in the same mic body/tube) to be phase co-incident to then make this phase cancellation technique work. No point trying to do it with 2 separate mics any distance apart. Or to put another way, (in a test space like an anechoic chamber) if the distance between capsules is 34cm and you mix the same sources together equally, then without (even) inverting the signal of 1, you will attenuate the 500hz part of your signal, but less so everything else, because the mics will be half this wave length apart. 17cm apart will attenuate the 1000hz part of your signal, so on and so forth. Hence the 'flangy' sound of a bad mix. Of course, in the real world most sounds are bouncing off surfaces and causing mild attenuations of some frequencies and our brains devour this information to tell us things about the space we are in.
  23. Best mic for specific location

    SOP. Doubles ya chances, especially if you have no audition/review time.
  24. Best mic for specific location

    That's generally my instinct too but it has not always been my experience. A recent I/V in a circular cellar sounded better to my ear with an MKH50 than a cos-11. Albeit i got a sympathetic edge of frame from the camera department which meant the tip of the 50 was c.250-300mm from source, so a similar distance as the cos-11 but with the advantage of off axis rejection.
  25. Best mic for specific location

    Just getting it on axis in the first place can be tricky, it needs a really precise mount/clip eg the DPA 4080 or a 'jaw' mic. With just 1 camera to set an edge for, a boom is not a bad call (for speed as well) CS3e, MKH50 maybe supplemented with a DNS2 or similarly the all in 1 equivalent - super cmit. I guess there's no chance to rubberise the wheels of those cleaning carts with something like silicone tape?