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RPSharman

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About RPSharman

  • Rank
    Hero Member
  • Birthday 04/02/1969

Profile Information

  • Location
    LA or UK!!
  • Interested in Sound for Picture
    Not Applicable
  • About
    Production Sound Mixer - primarily features and TV.
  1. Kyle, I'd be happy to meet!! Send me a note - nolooping@gmail.com If I can make a recommendation... Move with a job. Somehow get one of your clients to either recommend you for a long job here, or come out with one of the Austin producers, or anything like that. From personal experience, starting over in a new market is truly like starting over entirely. Best, Robert
  2. For the Whisky drinkers

    I apressiate that video. This one coincidentally starts with my favorite whiskey, so I am not alone!!
  3. For the Whisky drinkers

    So... A few drops of water? Splash of water? What? Science sucks. I'll stick with the dark ages!
  4. Working 788t Slate Mic Mod! YES!

    Anyone in Los Angeles do this modification??
  5. Is this a narrative job? How important is the barking? Will it matter if it's compressed and limited by transmitters and/or mixer/recorder? I would treat it like gunfire and just get the dialog. If they need the barking, you can record it as it's own track on another mic, set up just for the extra loud barks. I know now this doesn't answer your question. Sorry. Perhaps rent a Zax unit and test it with a dog barking.
  6. Red Weapon 8K Audio Issue

    Hi Mike, Do you find this to be the case on narrative projects where the camera audio will definitely not be used? The only time I have ever heard of an editor using camera audio for the edit turned out to be a total nightmare, as it wasn't possible to match back the production audio to follow the EDL created. A disastrous cost in time later to get all the original sound files with ISOs into the chopped up timeline. The very first argument I make when not running sound to camera is that syncing sound must be the first step before editing. Am I wrong? Has something changed in the years since this exchange occurred? Better software? This was about 8 years ago. Robert
  7. Yep. We've all answered you, specifically and generally. I'll do it again... 8060 no problems on pole with Rycote mount. Sounds like a Sennheiser. Durable and reliable. MKH50 no problems. It's been a standard for a very long time for a very good reason. Time to buy and move on.
  8. Lectro Power Solution

    Hi Gordon, I looked at description on your site for AES output. Just want to be clear... can it output analog too, thus the pair of TA3?
  9. This... Having a 416 is a great idea for any location sound person. For me, personally, I have had just about all the mics mentioned, or have at least used them. So have a lot of people here. For those of us with years in the game, we could pretty much have whatever we want mic-wise. I happen to have settled on 2 off the shelf 8060s, 3 50s, a 416 (which I never use but feel good that it's there), and a little DPA 4011C which is genius for low ceilings and for plants.
  10. Reality TV Gear Setup/Worflow

    I'd go visit someone on set and see for yourself. It's an entirely different skillset. You may decide it's not for you, or perhaps the investment in a different setup is too much. I have turned down these gigs before. It's too much work for me, and there are a lot of people out there who are better suited.
  11. Rental Rates

    It depends on how you present it. Typically in a "smaller" market, they expect things to be cheaper not more expensive, even though they may have fewer options. They think, "Lower cost of living means cheaper labor and lower rental." It's never inappropriate to ask for what you think is fair. You don't want to price yourself above market unless you are presenting yourself as an above market "premium" option, and you'd need the skills and experience to back that up.
  12. Rental Rates

    TV networks and shows vary. Rental is $1750-2500/wk, depending on the show. You're expected to have a "full" package to do the job. So the same package, whether they're paying $1750 or $2500. That's a minimum of 8 recording tracks and that many mics to feed them. 2 slates. A dozen Comteks. They don't really care what brands you own, as long as you deliver the goods. If a show has special requirements, you can negotiate up. If there are 12 main characters and they want them wired all the time, you could charge the higher end. That kind of thing. Lockits might be extra rental, but most camera houses include them in the package and won't credit back production if they choose to rent from you. You can't compete with free. But $50-75/wk each is about right. I've never run sound to camera on a union project. People do on commercials, but rarely if ever on narrative film and TV. For most extras, I just charge the rental rate on the LSC website. It's easy to tell production that Location Sound charges 'x' and l carry it so I'll supply it as needed for that rate. It's always available and they don't have to send a driver to pick up and return. I've never had them deny a rental rate that is the book rate. Generally they'll tell you what the eeekly rental is. If it's low, I'll tack on extras and include the minimum expected equipment. If it's a good rate, I'll not nickel and dime them every time for small add-ons.
  13. Cart video monitor feedback wanted

    I like being able to adjust the monitors for each show. Our last show used anamorphic lenses, so I just increased the size of the image as there was no top/bottom. Sometimes you have edge info that is useful, so you want to shrink or reposition the image for that. I like to power off the monitors easily, one or the other, if I am on battery power. I own the 702 and the 503. They're not that much more expensive in the broad scope of things.
  14. Zaxcom Nomad notch filter

    Thanks. A post colleague advised me that he got ISO tracks with a couple of frequencies that were completely notched nearly 100%. I know the recorder is a Nomad. I also doubt this was an intentional move by this particular production mixer. So just curious how it might have happened inadvertently.
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