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. 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.).
  2. RSVPd!
  3. 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.
  4. Noice! Looking forward to it.
  5. It wouldn't, because it doesn't do ambisonic decoding (at least not yet).
  6. Correct. Fuji NP50 batteries (same as Lectro SSM).
  7. 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
  8. Thanks for the LOTD!
  9. 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.
  10. I can always count on you Suso to ask this question for those of us who care about it!
  11. Amazing read.
  12. Hey, I have not, unfortunately. The mic does look very promising, but I don't know that I would be able to use it on location. It does look quite bigger than my SPS200, and while I haven't had anyone give me any fight with using the SPS200 on the VR / 360 shoots I do, I personally wish it was even smaller (without obviously sacrificing sound - I know, tall order) for easier concealing and/or stitching in post. Have you tried it? Have you compared it to any of the other common tetrahedral mics? Thoughts? Sample recordings?
  13. The workstation is for full spatialization of sound sources, which produces an encoded TBE file. The encoder is strictly for marrying the 360 video with a spatial audio file, whether it's FB360's TBE file, or an ambisonic B-format file (AmbiX or FuMa) or even the quad binaural. What the encoder spits out is what you would upload to Facebook, YouTube, etc.
  14. The FB360 Encoder is now available for windows as well, and I do recommend it for muxing 360 videos along with spatial audio (FB360 .TBE, AmbiX ACN, FuMa, and quad binaural), but yes, the Spatial Workstation is only available for Mac. There's also Reaper with the Ambisonic Toolkit (ATK), which can be used to create AmbiX ACN audio files to later mux with 360 videos. I think that's all there is for Windows at the moment unfortunately.
  15. Apple's approach in recent years has been one tailored to consumers instead of professional users IMO. We've resorted to Hackintosh builds for desktop use, and while the MacBook Pro was always the go-to choice for us for laptops, I'm not excited for the latest one. We ended up buying a 2015 MBP on eBay instead two weeks ago when we needed to, and saved a pretty penny as well.