Jose Frias

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About Jose Frias

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    New York City
  • Interested in Sound for Picture
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  1. Kelly, it was truly a pleasure to meet you. Thank you for having me in one of your videos. Though I must admit, it is quite awkward for me to be in front of the camera :-P
  2. I got a chance to see this in person yesterday. Very tiny yet powerful unit. Love the size, functionality, ability to link with Wingman via Bluetooth, and price point of these units. The Aux input is programmable for a few different functions, including LTC Timecode input. Only two things I dislike is that it has no hirose conector for power, only USB (but you can get an backplate adapter for AAs or Sony L-batts), and that you can't link all the inputs (which would've been lovely for my ambisonic mics). The latter shouldn't be difficult to accomplish via firmware update I imagine (hint hint Sound Devices).
  3. Typically, though dependent on the specific recorder you're using, user bits don't automatically change at midnight. But when using TOD timecode, the timecode will reset to 00:00:00:00 at midnight. This will lead to takes done past midnight to have earlier timecode then takes done before midnight, and when organizing files in an NLE by timecode, it can lead to confusion. Having done some post supervision now, I can tell you that it is generally good practice to do TOD minus 12 when doing overnight shoots.
  4. Zaxcom ZMT3 PH - with a Sound Guys Solutions mount.
  5. Full labor day rate, no gear. Though you may be able to argue a box-rental if you're bringing things like RF scanners to get the RF lay of the land, basic recorder and microphone to capture some preliminary recordings to hear what the location sounds like (too reverberant? squeaky floors? fridges? outdoor traffic? planes? etc.).
  6. If you want to do jobs that pay proper rates, then you have to be charging proper rates. So congratulations on taking a first step into becoming a professional. Looking at your rate sheet (which looks a bit familiar ;-P haha), $600/12 is still low for my taste (I do $600/10 + OT after that), but I guess you have to start somewhere. Gear is definitely below market rates though. Look at what rental houses are charging for those kits. You ought to be around those same rates, considering that production would have to rent the gear from a rental house if not from an owner / operator such as yourself. I bill $300/day for a multi-track recorder, boom microphone kit and two wireless mics. I'll often throw in an XLR breakaway cable in there if it's a sit down interview type job, but will charge $25-50 for special breakaway cables for cameras with non-standard I/O (i.e. Red, Alexa, etc). You're billing $50/day for the same kit and $150 for a kit with 6 wireless. Each additional wireless mic should be at least $75/day, so you ought to be billing at least $600/day. Here's my updated rate sheet reflecting current rates for labor and gear: ratecard-2017-locationsound-noncommercial.pdf Hope that helps.
  7. Noice! Looking forward to it.
  8. It wouldn't, because it doesn't do ambisonic decoding (at least not yet).
  9. Correct. Fuji NP50 batteries (same as Lectro SSM).
  10. You're my hero(ine), Jan! <3 Your posts are always so insightful. Also, saving this now as your new photo for your contact on my phone! :-D
  11. Thanks for the LOTD!
  12. Still asking for a light, compact, DC powered, dante enabled, 16-fader (with banks) digital mixer for cart use. Would also love a small digital recorder with timecode, 4 microphone inputs, input linking, and 1st order ambisonic (A- and B-format) decoder.
  13. I can always count on you Suso to ask this question for those of us who care about it!
  14. Amazing read.