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chrismedr

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About chrismedr

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  • Location
    Germany
  • Interested in Sound for Picture
    Not Applicable
  • About
    documentaries

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  1. Rates in UK / Europe

    I'd say it depends... Zoom F8 or SD 633 type? Rode NTG3 or Schoeps MK41? Sennheiser G3 or Lectro? Ambient Lockit Network or Tentacle? etc. but generally for equipment, check the prices or typical rental places and charge accordingly. here's a rough price list from Kortwich: http://www.filmtontechnik.de/fileadmin/tontechnik/Mietpreisliste/PL-Kortwich_2017.pdf chris
  2. Rates in UK / Europe

    well, you do find people that work for that amount of money over here, but definitely not experienced talented folks with quality gear. but just to add on the point of local rates: imagine what would happen if a production from say Hungary would make a film over in L.A. and ask the sound mixer if he could work for 200USD per day since that is the common rate in Hungary? I'm pretty sure you'd hear a solid "no, here you'll have to pay three times that". So it's kind of understandable that a US production filming in hungary would expect to pay 200USD if they can get a qualified person for that money. if this is fair or not is a completely different discussion in my view and extends way beyond filmmaking. chris
  3. Rates in UK / Europe

    oh, I wasn't talking about morale at all, sorry if it sounded like that. I was more talking from the business side, like if I were on the other side and hiring a sound mixer I would probably think I'd pay them the same as what they usually get since that is the norm. But It sounds to me from what you describe that the brazilian market is pretty messed up and most people are working at minimum wages. so if a UK production company doesn't know the rates or just feel they should pay their crew properly, and you can negotiate a higher rate, I cheer for you ;-) If they tell you that in the UK or Germany a sound mixer usually works for 350GBP including gear and unpayed overtime, they either come from low-budget productions or they flat out lie, thinking that people in Brazil will be happy to work for that. chris
  4. macOS High Sierra: AFS File Format

    yes, you can switch your OS drive to the new format and still use external harddisks the old way. that said, personally I would wait at least a few months before doing so, specially on production equipment. there is very little to gain and a lot to loose. if you're interested in the details of the current state of things read the blog on bombich.com, I trust the developer of one of the best backup applications knows a thing or two about harddisk formats.
  5. Rates in UK / Europe

    agreed, why should a german production company pay different rates in brazil for local work then a turkish production? if they hire a taxi driver, they will pay brazilian fares too and not german/turkish fares. but personally, I don't like flat rates without paid overtime. too often it ends up in really long days and everybody is in a bad mood because it's basically unpaid work. expensive overtime helps that production tries to keep things efficient and days reasonably short - and if they are incapable of doing that then at least you get some extra money. chris
  6. 664 panic

    glad to hear it worked out. my suggestion would be to now update the firmware to newest version, reset the mixer to factory defaults, and buy the approved SD media. - then do some test runs with 6 tracks over 2 hours and check the files. chris
  7. 664 panic

    is that a question or a fact? (asking because you would be the only one who could answer that question) if it *does* play back on the mixer, then the *first* thing to do is route each track that you need to a discreet output, play it back and re-record to a separate recorder. then the second thing to do is to contact somebody who has experience with data recovery. basically there the first step is to clone the whole card to another media (or disk image), then try different ways to recover the files without risking any further corruption. if the files are not too important and you want to try it yourself, I've had pretty decent results with Data rescue X on the mac. hope you'll get the files back intact. chris
  8. with the price of a used sony, why not just buy one, do a side by side for your typical scenarios, and if it doesn't hold up to your standards sell it again. total cost about 0. bonus point if you post back here wih audio samples ;-) chris
  9. Lectrosonics SMWB coming soon?

    I think Gordon didn't mean the TA5 in particular but some other combination of wireless/recording/TC. details hardly matter because it will lead into an unpleasant discussion of lots of opinions. enough to say that for whatever reason, at the moment in the US you're stuck with zaxcom if you need wireless with TC backup recording. the tricky work here is "simply" -- engineering is a tradeoff business, you sample at 48khz, you loose on other stuff (i guess battery live, bandwith etc). personally I find this a pretty terrible idea - I'd rather record natively (44.1) and backup that and have editorial convert it to 48khz then do it at the end of a long shooting blind in a small fiddly unit hoping there's enough battery and space on the card left to finish the conversion and not corrupt any files....
  10. Lectrosonics SMWB coming soon?

    I have to deal with post sometimes and encurage everybody who has files recorded in 44.1 to convert them to 48khz *before* editing starts! there many programs which do that in batch and keep the same filename, so there's little reason not to do it ( obviously nobody wants to deal with it after a 14h shooting day while doing backups, but editorial has really no excuse) chris ps: thanks for the comments Gordon, and also for the remark about the beach. I feel in these times it's nice to have a bit of light hearted humour rather then taking everything so grim.
  11. Environmental Conditions

    Dear Bobbi, this is a forum for (mostly location) sound professionals, so people here usually focus on the sound aspect of cameras (well, as much as they have to to do their jobs ;-) so you're likely better of in a cinematography forum, or even better yet, hire an experienced AC with lots of hands on experience, or if that's not an option, talk to a good rental house. also talk to your DoP because he might have some preference what camera fits the project best in terms of image and handling. best of luck chris
  12. Is a new Sound Devices MixPre-10T coming soon?

    yes, they are the same part numbers (except for the 4AA that is not listed on the 10T, probably because of the higher power drain)
  13. Digital-analog sync sound

    yeah, true that (although one could argue that shooting with limited possibilities makes you think and focus more). I totally agree that giving somebody a nagra and a BL4 camera in todays production environment will result in a poorer film most of the time, and that if sidney lumet had a 4K camera a modern digital multitrack recorder back in the days the result would have been very enjoyable. but still I find it remarkable how little influence modern high end gear has on the end result - nearly every film school film is shot on an alexa and a sound devices recorder these days, and they are definitely no better then 20 years back when they only had a few rolls of 16mm film.
  14. Is a new Sound Devices MixPre-10T coming soon?

    agreed, what I meant since the MP-10T also has HDMI TC in one could possibly hook up several 10T for insane track counts?
  15. Is a new Sound Devices MixPre-10T coming soon?

    what about sending the same HDMI TC to several units? from the description of the MP-3/6 itseems that would result in sample accurate sync? (not that I'm planning to do this, but it's an interesting idea) chris
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