Don Coufal

Would love to find a project starting after March 30th. I have not done much networking over the years as I have stayed pretty busy. So, i hear " I always think you are busy" from a lot of people. I'm taking this opportunity to maybe meet some new people or re connect with some old friends. This is my IMDB --http://www.imdb.com/name/nm0183304/reference for reference. I live and work in LA but of course have worked through out the US and many other countries and am free and love to travel. Looking forward to any responses.

I personally do not like the idea of putting off camera dialogue on he production track. It seems to be justified only in that people watching dailies need to have the real experience. As far as micing off camera and putting it on a seperate track so it is available for the editor, I have no problem with that. Of course there are many reasons why that track will be useless anyway. I tend to think in terms of feature work so I realize it may be different in TV or other media. My choice is always make the on camera the best possible. Overall that will be the most useful for the editor. As an aside though. I do find that if there is a microphone available, most mixers seem to want to open it up. Just saying.

Richard, I worked on the film and must correct your statment "and never a tripod." The whole film was done on tripods or dollies. It is the long lens that Tony uses that gives it that look.

In your individual profile the max is 50 topics and 50 messages.

Thank you for that post Laurence.

This person is some artist. Beautiful work. Maybe this is the answer to "New Media".

Can you explain the cage around the mic on the stand next to your gear. I assume this is the framework for wind screen wind protection. Who makes that rig?

When my girls were younger I too was ask to do something at their school to help with plays, musicals etc. At this particular school which was Calmont in Topanga Canyon, the stage was an out door stage so the little voices were lost very quickly. I considered several of the solutions that have been mentioned here but chose this one for this particular situation. I went to the hardware store and purchased three 18'' plexiglass squares. I mounted PZM microphones to the squares and then mounted the squares on mic stands with tilting heads so I could adjust the angle. These were placed left, right and center of stage just above the lip and tilted at about a 60 degree angle I would guess. There was also a stage mic on a stand when needed. This system worked beautifully as the little voices were crystal clear and sounded very natural. It worked to enhance the voices with out the need for a lot of PA level. It was also very smooth across the stage. And of course letting the Teacher know that a little projection from the kids always helps. I haven't tried this in an indoor auditorium or environment so I can not speak to its effectiveness there. As you know there are many variables to deal with in these kinds of situations. Good luck.

I've really never heard of this being a problem and I think all of us have done this for years. I have heard however that you should not remove the capsule on a microphone like the schoeps with the microphone plugged in and receiving voltage. This can damage the mic. However before we were informed of this we had done that very thing many times. Now I always unplug the mic before changing a capsule. Better safe then sorry.

There are many things to comment on with an article such as this but the first thing that came to mind as I was reading it was the immediate effect on all those here that do commercials. Beside the fact that it could seriously effect the amount of work available it seems the greatest effect may be everyone waiting longer and longer to get a paycheck from any commercial. Production companies will take any advantage available to them and when no time frame is set for commercials to pay, 60 to 90 days could become standard. It already takes at least two weeks apposed to the one week in TV and Film (mandated by the contract) but I believe that the commercial contract does not even mandate that. Someone in commercials correct me if I am wrong. I'm not sure when the new commercial contract is due to be renewed but that is an issue that certainly needs to be changed before it is too late.

Robert, I believe that several people here have very intelligently spoken on the issue. It is always good to dissect both sides of an argument so it is always good to have "the devil's advocate". I would point out, however, that when the opportunity arises, we would all do well by offering to someone the trainee position. This is not taking work from "one of our brothers or sisters" but rather helping to create a stronger more viable brotherhood or sisterhood. (It is so hard to be politically correct these days). One thing I have learned after all my time in this business is the more you help and give to others, the more you will get in return. Just my opinion. Don

Jeff actually stated my position very well. I was suggesting to look at a trainee position for those people who are, for what ever reason, working on long form projects with a two person crew. We all know that a three person crew helps us to do better, more efficient work and it also let's the production know that even on lower budget projects a third person is needed. The trainee position is in the spirit of compromise without compromising our desire to do the best job possible. Instead of a PA you might actually have someone working with you who loves sound, wants to learn, and is committed to the job. Don

Hey Richard, I got them straight from the recent rate card as listed under "contract" on the 695 website. I think this will take you to it. http://www.695.com/mbr/rate-07-09-s-d.html You may have to sign in yourself. I know this is available because I used it a few years ago to get MiKe Herron into the business. He was a PA on Fight Club and wanted to get into sound. We talked to Jim Osbourne first and then to the Production Manager. It was agreed that if they listed him as a Sound Trainee on the call sheet for thirty days he could get on the roster and thus in the union. They did, he did and now he is doing very well in the business. My point is that this is available and could be used as a way to avoid having to cave in to some of the demands that are made. It would mainly apply to those lower budget jobs that think they just can't afford a third. If no one is listed then I assume you would need to clear it with the union and just find one of the many young people who would be dying to work with you. Just my opinion. Don

Eric, Your right about "it's all about the money. That is why I suggested in my post to look at the Trainee Position available through the local. That would be more like $5000 for a film like you suggested. I'm just suggesting that we all take a look at all the options before agreeing with production that is is not necessary. They will always push to get something for nothing. But like a good friend, script supervisor Marion Tumen, always says "If you don't ask you'll never get it". Don

I would like to start this thread to help answer some of the questions that I have read on several other threads on this group. I want to choose my words carefully as not to offend anyone who might be working in a manner inconsistent with my beliefs. As far a the crew goes, I believe that it is important on any long form project to work as a three person crew. The budget certainly should not be a determining factor on the need to have a third person. As we all know, lower budget projects, more likely then not, will require the need for a third person more so then bigger budget projects. Let’s look at why we as a sound department need a third person. 1.To deal with cable. Like many on this group have commented, a hard line cable is, at this point, still the best solution to receiving the best signal from the mic and returning the best signal to the boom operator. Since we all know about problems associated with RF transmission, it is also the most reliable means of recording the audio. Having said that, wrangling cable should not be the first argument used to justify the position. If a wireless product can produce audio equal to a hard line and produce an IFB return that meets the same standards as a hard line (i.e. (?) Zaxcom) then by all means if you can afford that solution then use it. This would be a revolutionary product for the film industry. 2.Battery management. We have already entered a world where we use more batteries in a day then we used to use in a month. Comtecs, IFBs, Slates, Wireless Mics, Qaids, Power Supplies for wireless mics, and various other items that may need to be pulled out at any time. Not to mention the variety of rechargeable products that are in the kits and need to be ready at any time. 3.Sound Abatement and Control. This is probably what I consider the biggest argument for the third person on a sound department. That’s because it is an ever present problem that needs to be dealt with on almost every take and certainly on every location. It can be the determining factor in the quality of sound you are able to produce. I won’t go into it now because it would take too long to look at all the issues involved. Suffice it to say we have all encountered them at one time or another and how we were able to deal with them determined the results we were able to achieve or the method in which we were forced to record the sound. 4.Liaison with the crew. To achieve our best work as a sound department, we all need the help and support of other crew members like grip, electric, wardrobe, hair, props, first and second ad’s, pa’s, effects and locations. The third person on a sound crew is essential in developing and maintaining these relationships. A two man crew does not have the time to effectively work with each of these departments. 5.Be a second boom operator when needed. With todays style of film making, it is necessary to have a second boom available at all times. Even if it is only to pick up a line or two of dialogue from scene to scene, this can save production time, money, quality on their projects. There are also times where the first boom operator will need help with wiring talent and making sure that mic is performing to the best of its ability on the talent. 6.Put out fires. Being responsible for the entire production sound track is a lot to shoulder for just two people. Look how many people help with the picture portion of a film. I don’t think this needs any further explanation. Any one of these can take up most of the third’s time on certain shows. It points out why we need to work as a three person team. So as not to bore, I have left out many other needs and duties that can be performed by a third and would love to hear others input on this subject. I do want to address quickly the issue of fighting to keep a three man crew. As we are all aware, the industry is changing and constricting more so now then ever. The producing entity is always looking to cut cost, cut jobs, and allow lower cost workers (I.E. PAs) to do more and more of the work. This is evident in all areas of the business whither it be commercials, tv, reality, or movies. It will be up to us to determine if we are going to go along with it or fight it. Do we really want to continue to to do the”best job” that we know we can do or will we choose to give them the “best sound they deserve”? These are two totally different decisions. If we choose the first answer then we will all have to be very diligent and work with our local union to help preserve the third person position. We will also have to be constantly aware of not doing things in such a way as to say to the producer that a third really isn’t necessary. For those who are working on long form projects that will not hire a third, then look into the unions trainee position and have the company hire a trainee. (8192 Y-16A Pro. Sound Trainee hourly-$16.58 ) You will not only be doing yourself a favor and the company a favor, but you will also give someone an opportunity and the training needed to help build a stronger sound community in film. Now if you choose the second answer then you have no one but yourself to blame. I believe this concept could also be applied to the “reality world”. Isn’t it possible in that world to convince production that a second person is necessary when you are carrying seventy pounds around your neck? Just a question. Would love to get others take on it. Don Coufal

This is off the 695 website and what I have understood the definitions of Grace and 30 min. Extensions to be. There are two types of so-called Grace Periods. They cannot be used together. The 30-minute “meal interval extension”. A 30-minute meal interval extension can be called “only for wrapping up or to complete the camera takes(s) in progress, until print quality is achieved”. At 31 minutes after the lunch break time the Producer is assessed 1 meal penalty and cannot use the 12 minute grace period. This type of grace period may not be scheduled or automatic. The 12-minute grace period. A 12-minute grace period can be called before a meal penalty goes into effect "for production efficiency," which means the Producer can use that time for anything they want. This type of grace period may not be scheduled or automatic. NOTE: Grace periods are not intended for everyday use and, as demonstrated by "past practice," are generally not used that way. By "past practice," we mean that the contract language does not specifically address the issue but, nonetheless, it represents a standard that is commonly followed and should not be abused. If a Producer is forcing you into grace period on a daily basis, please call the Local. In almost all cases, when called to task, Producers will quickly relent on this issue. Don Coufal

Robert is right on this one. It seems that almost everyone gets it wrong, including production, most of the time. Grace and Extension seem to be contract issues that need much better explanation. Another correction is that the boom operator and utility person go into overtime after 8 hours assuming you work 40 hours in a five day week. Otherwise overtime starts after 9 hours the same as the mixer. If you check, overtime for boom and utility is based on time and a half after 40 hours.

The new Schoeps CMIT 5U is my choice for a "long mic". It's a very smooth sounding shotgun mic that retains the classic schoeps transparent sound quality. It of course suffers from some of the same limitations of all "long mics" but has proven to work quite well in certain situations, mostly exterior. Voice quality is superior and it has three filters to help taylor in difficult environments.The Sanken CS-1 or CS-3e would be my second choice as it matches rather well with the Schoeps CMC Mk41. However in many situations where you might think either would do a good job, I have found that the Schoeps MK 41 sounds and works better. Don

Tim, Even though it sounds as if you are relatively new in this business you have learned a very useful and important lesson regarding the use of wireless mics. I may add that it not only applies to low bugget films but all projects across the board. The wirless mic is a tool in our package that should be used only when needed. This subject would be a great thread in its self. I will soon be giving a seminar through the Union education program that address this subject in greater detail. It is a boom operator seminar but will address many aspects of recording "good production sound". Some of the advice for Hari that has been posted here is very sound. In most instances, less is more. Stress the importance of a good sound track for the project to your director and producers and get everyone on board in the beginning. Solve as many of your sound problems before you start shooting and good boom work with a good microphone should serve you well. Jeff Wexler and I have done many films using one microphone 80% of the time or more. Good advice from Tim and good luck to Hari on your film