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Jay Rose

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  • Location
    Boston US
  • Interested in Sound for Picture
  • About
    Sound designer and industry author. Member CAS and AES. Humor, articles, and studio info at www.dplay.com.
  1. Effect of new tax bill on freelance soundies?

    That's a fascinating concept, sounddguy, and fraught with possibility (or possible loopholes). What's your source?
  2. Effect of new tax bill on freelance soundies?

    Democracy isn't collapsing. It's just returning to the time when only nobles and landowners (the .1%, back then) had any say.
  3. Effect of new tax bill on freelance soundies?

    Mike, We have Limited Liability Corporations and Professional Corporations, often used as a shield by high-earning professionals. We also have "subchapter S" corporations, which are regular corporations but let the owners pay tax at their personal rates rather than a corporate rate, which can be an advantage for someone just starting out. IANAL. I also didn't have a good lawyer when I started Sound, Inc in the 1970s, so it got registered as a regular -- not "Sub-S" -- corporation. That came back to bite me when I sold its assets profitably in the mid-80s; I had to totally dissolve the company, and not start another one in the same business for a number of years, in order to compensate. (Yes, I could still work as a sound designer. I could even start a new studio. I just couldn't incorporate it) Moral: you need a good lawyer, accountant, or both. Trying to start a business on a shoestring is fine, but trying to guess your way through business technicalities yourself or with a newbie... is about as sensible as hiring a $100/day production mixer with "a couple of SM58s" and experience mixing bands in bars for your no-budget shoot.
  4. I've been thinking in terms of the most powerful Mini to replace my Mac Pro tower, one of the last that was user-expandable. I'd get a separate Thunderbolt-connected chassis to support the PCI cards I want to keep. Using a Mini rather than an iMac would let me keep my current arrangement with two monitors at the console, BlackMagic HDMI driver for pix, and CPU with all its connections sitting happily in the rack. I have a 2015 Mini with hybrid disk at my desk, and it's wicked fast!
  5. Effect of new tax bill on freelance soundies?

    Accounting firm KPMG has posted a long document, dated today, that they say is the official summary of the current version. I am not an accountant, and it takes one to make sense out of this. As near as I can tell: 1) While 'entertainers' are specifically excluded, us crafts that support the performers can still deduct for our operating expenses. 2) Our expenses are limited to 17.5% of our billing. After that and any straight depreciation, the rest of our billings are treated as conventional income. This seems radically different -- and much worse for us -- than the current situation that appears to allow full 'necessary and regular' expenses and accelerated depreciation on gear. That's as near as I can tell. But I'm not an accountant or lawyer. 3) There is a much more liberal (i.e., cheaper) tax rule for passive investors in a business. I'm sure it's intended to preserve tax breaks for rich folks who buy real estate partnerships or golf courses or congressmen... but I wonder if it would let me invest in and only claim income from a friend's pro activities, while they invest in and claim mine. Probably not. Of course this can all change, up to the moment the Senate votes. And then change again during reconciliation. I have no idea how a senator of conscience (there have to be some) can decide how to vote on their own while things are still fluid, rather than just accept the leadership's marching orders.
  6. There are probably as many different workflows as there are individual users, but... The common standard, which you probably know, is to have the pix editors render out a single final video in a standard format (.mov, .mp4, etc) with 2 pop/flash or universal leader and their idea of a temp mix. If there are missing graphics or efx, then they're marked and slugged, but since picture is locked* there can't be any changes that would affect location of other elements. This picture file is what the client watches while you're working on audio post. At least if you do that, you don't have to worry about running pix in Resolve. Pix also usually renders out an AAF or OMF with matching pop and handles, which you import into your DAW. Last I checked, that's not directly possible in Resolve. But there are workaround tutorials on the Web, where Resole renders audio files and an XML, which is then bridged to an AAF through some other video app (like PPro or FCP). AFAIK, AATranslator doesn't speak Resolve yet... but that could be changing. It's not as smooth as using some other video apps. I suppose there's also a workflow where you run Resolve and your DAW simultaneously in your audio suite, lock the DAW to video by putting SMPTE on one of Resolve's audio tracks... ---- * -- "Locked" picture. Right. Have you ever seen that mythical beast?
  7. From today's New York Times: Scientists are trying to make long-term recordings of the ambience in remote Alaskan locations, to capture the sounds of birds and bears and other creatures before they're drowned out by snowmobiles and flyovers. Except sometimes the critters act like actors looking for an excuse why they can't concentrate:
  8. Digital-analog sync sound

    Sync block and sound reader. Steenbecks are for wimps.
  9. Cuban Sonic Spying?

    If you go to YouTube, you can see a full res version of that spectral display. It's linear-for-frequency (rather than log) with combs or beats every 125 Hz or so. Unfortunately, there's no way to tell the SPL. The vertical scale is dBFS with no reference to what level the mic heard. But if this were loud, it would certainly be annoying. And if it were continuous, it could affect thinking... at least, it would for me. I've got to assume CIA or State or somebody has more details. Possibly even tried to convey the details to the reporter, but things got lost in translation. At least having pinned down the sound, we can dismiss the claims that this is nothing more than mass hysteria.
  10. Digital-analog sync sound

    Bonus! They can also project it that way, since Vitaphone ran at 33 1/3. "Jazz Singer" (original version) was a runaway hit. Maybe they're looking for its secret recipe...
  11. Digital-analog sync sound

    Mike, they could even get the analog sound more controllably, recording dialog with a good modern digital rig, ingesting and editing in the digital domain, and then just passing the predub through a realtime Nagra record-to-play head transfer. Or what the heck, printing the predub to 35mm mag. But it doesn't have the same cachet. What could be happening: 1 A lot of people still believe that digital is inherently "steppy", while analog is "smooth". (It can be proven mathematically -- and demonstrated easily in thought experiments -- that the ambiguity from digital quantization errors is exactly the same as that from analog noise floor, assuming you're comparing media with the same s/n. ) 2. A lot of people decided that digital is "harsher", because the first attempts were. That was before we had practical oversampling, so there was a constant battle between carrying HF and getting aliasing. But that's, like, early 1990s. 3. Production wants to gather PR points so they can be interviewed about how they made the film completely old-school.
  12. Post Resources

    Mike (and others), That's an awesome document! And it also led me to look elsewhere on the site... For example, http://sounds.bl.uk/Sound-recording-history
  13. Purchasing first Nagra deck

    I've owned a III and IV-S, and a Uher 4000... as well as an Arrivox. They were all good for what they did. The Uher was handy and light, and sounded incredibly good for its time, but operating features were limited. The III was rugged and easy to service, but not the most field-friendly. The IV blew everything else out of the water... for operational convenience and flexibility, for sound, for ruggedness*. If I had to go back to analog field recording, it's what I'd use. The Arrivox was a very odd duck, the semi-cool child of Arri's knowledge of what we wanted in a field pilottone recorder and Tandberg's pretty good "11" portable deck. Two mixing mic inputs, separately switchable filters and limiters and T power on each (I modded mine for phantom), tone osc, mother/daughter board construction, even a footage counter. I called it a "Nagra 3.5". -- *Requisite Nagra IV story: 1988 presidential primary campaign, January. We were in the middle of a large Iowa farm, on the coldest day of that year, just a few miles from the coldest spot on that day. It was so cold, the rubber on my mic cables cracked and I had to replace them. But the IV ran perfectly, and exactly on-speed.
  14. Post Resources

    From Producing Great Sound for Film and Video. The list is about three years old. American Radio Relay League (www.arrl.org) This amateur radio organization publishes many books about electronics, including an excellent primer, Understanding Basic Electronics, for $30. Their ARRL Handbook ($60 hardcover, including CD-ROM) is a 1,300-page technical encyclopedia, updated every year. Cinema Audio Society (cinemaaudiosociety.org) Organization of production sound mixers and boom operators, with an informative online journal, an active discussion board, and links to other film sound technical societies. www.JayRose.com My website. It has a large tutorial section, reprints of some of my DV Magazine and ProVideoCoalition articles, a two-hour video presentation on film sound, some spoofs of our industry… and information on my studio (which is how I pay for the whole thing). www.GreatSound.info Mostly about my latest book, but there's also some free downloadable stuff. Epanorama.Net Engineer Tomi Engdhal’s website: an immense database of contributed articles, circuit diagrams, and tutorials about audio and electronics. Equipment Emporium (www.filmtvsound.com) Educator and sound recordist Fred Ginsberg’s site, with lots of articles about soundtrack production, and downloadable manuals for some common gear. FilmSound.org Immense library of articles devoted to all aspects of film sound design. The site also includes discussions of more than 150 specific films, and essays by noted sound designers Randy Thom and Walter Murch. Gearslutz.com Busy forum (more than 10,000 members and guests) for people who love audio and its equipment. Most of the topics are about music recording, but there are active subgroups devoted to film/video post, studio acoustics, and equipment classified ads. Internet Movie Database (imdb.com) Cast, crew, and occasional trivia for just about every movie ever made—Hollywood features, made-for-TV, low budget indies, the works. JWSoundGroup.org Very active discussion group, managed by veteran Hollywood mixer and Oscar nominee Jeff Wexler, and populated by film professionals. Lots of topics (primarily about location and production sound), question-and-answer threads, and both technical and philosophical discussions. Free registration required to post, but anyone can read and search the threads. Quantel Limited (quantel.com) This film and video equipment manufacturer has assembled a large downloadable library on digital audio and video, workflows, and interchange systems. Rane Corporation (rane.com/tech.html) Rane makes equipment for commercial sound installations. Click the “Reference” tab on this page for a library of downloadable booklets, and a complete technical dictionary. Rycote’s Microphone Database (microphone-data.com) Published specifications for thousands of professional and semi-pro microphones, sponsored by this manufacturer of professional shock mounts and windscreens. Video University (videouniversity.com) This site has a few basic articles on audio, plus a lot of information about the technology and business of video.
  15. When lavs attack

    This is what happens when one mic has a male connector and one has a female.