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Just an FYI.. It looks like KCET/PBS will be airing some shows on Warner Bros. coming up that look pretty good. http://www.pbs.org/wnet/americanmasters/episodes/the-brothers-warner/about-the-film/441/ http://www.pbs.org/wnet/americanmasters/episodes/warner-bros/you-must-remember-this/281/ Both are from the American Masters Series.. Set your VCR's... -Richard
Last reply by Richard Ragon, -
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Owner will pay Contractor a pre-negotiated sum per hour, per day or per project for the work to be performed under this contract. Because of the nature of film, video and audio-visual work, the work schedule will vary from project to project, but compensation will remain under the control of Contractor. The above is from a contract I have to sign for a company I work for before any project starts. The company has one of my rate cards and I bill off it for most of my work. But lately this company has been springing more and more flat rates on the crew, once after the job was done. My question is how can they do this with a clause like this in their contract? How ca…
Last reply by studiomprd, -
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Hello, I'd like to know how media and film courses at universities and colleges are seen in the outside world. Non-film school courses. In the UK, the industry doesn't seem to have much/any respect for non-film school courses and having just finished one I can't say I disagree.
Last reply by john.e.perkin, -
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I want to address what I think has become a very serious issue. Just recently I worked in Portland for 3 weeks mixing 2 episodes of "Leverage" for TNT. My friend was the boom operator and asked me if I would like to come up and mix the episodes. The issue was that I would drive up with my gear and stay in a hotel both at my own expense, receive "area standard" rates, and receive no per diem or idle days. Having worked very little this year, needing hours, and wanting the opportunity to travel to Portland (we actually have thought about maybe moving there), I took the job. My benefits were able to be sent to 695, and there was no issue with 488. My family got a nic…
Last reply by studiomprd, -
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I couldn't find the original thread on the You Tube viral video called "Stand By Me", which featured street performers from around the world doing the song. Mix Magazine has an excellent interview with the producer/engineer/director of the video, Mark Johnson. http://mixonline.com/post/features/audio_playing_change/index.html Here is the link to the original You Tube video, now over 12.6 million views! RL
Last reply by old school, -
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http://losangeles.craigslist.org/lac/cwg/1310035937.html Okay - So what do we think? New Yorker with no driver's license? Too many DUI's? I'd really love to find out. And I'm not sure you can get to MDR from Silverlake! Robert
Last reply by Bondelev, -
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The L.A. Times has published an article about Downey Studios and serious illnesses experienced by film workers who worked at that Studio over many years. Richard Verrier, the L.A. Times reporter, continues to write most of the best articles that relate to our industry, union issues, health and safety in our industry. I have met with Richard in the past and he is one of the few reporters who still manage to tell the truth in this town. I am going to post the whole article here and a .pdf for those who are not able to access the L.A. Times site. Health complaints linked to former NASA site in Downey A toxic cleanup paved the way for Downey Studios. But people who…
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I need some advise. I have $400 credit to spend at trew audio. I'm thinking about a rode blimp for the boom or a petrol mixer case and a pelican case. Any other ideas? Thanks, Mike
Last reply by Sam Kashefi, -
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I've tried to use rechargeable AA's in a Lock-It box and they were just a bit too big! Has anyone had this experience and, if so, is there a brand that works? I'd love to use them in my SM and SMD. A.
Last reply by Darren, -
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Any one have one I could rent/borrow for tomorrow? Please email... thanks. pwpmixer at mac.com
Last reply by graham, -
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I know I've seen a thread on here but I can't find it again about renting your gear from a business you just happen to own and getting paid labor through the production. If someone can point me in the right direction that would be great. Basically looking for info about what the difference junk you have to deal with being a employee of the production vs being an independent contractor and also if you use a business to rent out your gear to the production how do you then make the money from the business your money for personal use? Don't you get hit double at tax time with business taxes and then personal taxes? Any resources to look at would be nice. Thanks. Eric
Last reply by EricL, -
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This last Saturday, the Education Committee of Local 695 hosted RF Day, which consisted of a presentation by Glenn Saunders of Zaxcom featuring the public unveiling of his new Zax-Net technology, some new devices, and a review of other more familiar Zaxcom equipment. The second part of the day was a presentation by Tim Holly mostly about the effects of the DTV switchover on our work, including a history of the FCC and kind of a Radio Mic primer. The event was well attended for a Saturday morning in the summertime (nicely air-conditioned - an essential for the Valley, thank you, Bexel). Attendance was by reservation only so I don't know how many were turned away. It was…
Last reply by studiomprd, -
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Hey everybody, I wanted to pick some brains and get some feedback. I've been contacted to do and have heard about a lot of low budget indie flicks. Specifically ones that are trying to do features ENG style. No boom/utility and low rates yadda yadda. I've boomed for a while and mixed a bunch of eng and shorts. What I wanted to do was start mixing features and working my way up. But its frustrating dealing with this mentality. Production is trying to keep costs low. Which is understandable and expected. But to reduce a whole department down to one person? To not offer anywhere near a real rate for the gear? My conflict comes from my desire to keep work…
Last reply by studiomprd, -
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no one here has brought this up, so U'll stick my feet into my mouth, once again, since both Daily Variety and The Hollywood reporter mentioned the same thing. THR: " You can't keep them (the characters) all straight, and a muddy soundtrack doesn't help. Depp had his own sound technician, according to the end credits, but you still can't hear him. Between mumbled lines and busy music cues, much of the film's dialogue is indistinct. " DV: " it is Mann's way to deliberately pare connective tissue, a strategy magnified here by the unintelligibility of a fair amount of dialogue... Much attention is paid to the quality of the gunshots, the sounds really pop, " I have not …
Last reply by studiomprd, -
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I've been working on a show with quite a few scenes taking place at a horse ranch. We've had a good number of "ride and talks" with actors riding horses and delivering dialogue. But the saddles are creating quite a bit of noise. Sort of a leather rubbing noise. I know some of you have worked on western's. Was this ever an issue for you ? if so, what was the solution ? Thanks
Last reply by Kevin Sorensen, -
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I remember the anger, frustration and fear evoked during the IA contract ratification period over the increase of 400 qualifying hours to begin in August 2011. I have bigger concerns over the proposed health-care reform bill that is speeding through the halls of Congress. The House version is already 1018 pages long. Very few of the House Representatives will ever bother to read it and passage there is almost a forgone conclusion. Then it is on to the Senate where the bill's page count will probably double and despite debate, no one there will have thoroughly read it either. Here is one that just might end the Motion Picture Health Plan during the next contract n…
Last reply by studiomprd, -
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Hi all Will be doing a "road" doco in the USA from Miami to LA, I am planning to use 210d block 21 (talent) and 401 block 26 ( hop ). Are these OK blocks to try and use ?( will have snake cable available and back up ) Cheers PS
Last reply by Eric Toline, -
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My friend, Phil Jeffries, is giving a concert on Saturday evening in Beverly Hills. He performs in the style of Frank Sinatra with a small band. He'll be performing in the Civic Center Plaza as part of the Summer Nights in the Plaza Concert Series. He wants to record this concert. He'll also have a few people running about with video cameras to film it. I originally agreed to record it for him as a favor. Now, I find that a last minute work assignment (they are so few and far between these days) precludes my being able to help him. Is there anyone out there who would be willing to step in and help? Although I was going to work without pay, I believe Phil could find …
Last reply by David Waelder, -
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I find this photo depressing. If I were a cameraman instead of sound mixer, I would hate to have to operate this beast no matter how good the image quality is. Fortunately, digital sound recording with the Deva (or any of the machines we use today) is so much more elegant... and the "sound" quality is great. Regards, Jeff Wexler
Last reply by Jeff Babb, -
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Hey folks, I'm just getting my feet wet when it comes to sound mixing, but I'm doing a job tomorrow filming a military show. The grand finale is the firing of authentic World War II artillery. I was brought on last minute so I don't have time to ask so-and-so about what exact models they'll be using, but it's safe to say it's going to be LOUD. I have never recorded explosions before, so I hope you can all give me some pointers. I'm mixing on an FP-33 with feeds to my FR-2 and a scratch track to the camera (DP hasn't told me what kind yet). I have Sennheiser ME-66s, an MKH-416, and a Neumann 82i Long Shotgun at my disposal. I have zeppelins and windjammers for eve…
Last reply by studiomprd, -
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http://www.cardas.com/content.php?area=insights&content_id=12&pagestring=Cable+Break-In I am not sure whether to agree or disagree. Oh man.. -vin
Last reply by John Steigerwald, -
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Hello everyone. My partner and I are still in the fledgling stages of our career in film sound and still sorting out the business side of things. We do both production and post work. Sometimes producers ask for rate cards and reels for production sound gigs. Do you guys break down all your gear separately on a rate card or do you just have a few different rates for different types of shoots? In the past, we've been giving producers a day rate that included our services and our gear rental. Also, does anyone actually make production sound reels? Knowing the heavy and involved audio workflow from production to post, it doesn't seem very useful to me to create …
Last reply by taylormadeaudio, -
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Hi there, Just got asked to do a job and they want to maybe sync my 788t with a F900. How hard is this? Will i need a ambient clock kit so when i disconnect from the camera it will keep in Sync? I am hopein that i will just connect the 788(master) to the camera with a BNC and set the camera to take the tie code and hopefully not go messin around with it too much, although i'd say it will need to be rejammed after the battery dies on the camera. Any answers welcome and a point by point description would be deadly. Many thanks Alan.
Last reply by Philip Perkins, -
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I had a traveling reality show contact me for two days in my town when they visit they offered $400/12, which for a short term job when a client is renting my large reality tv sound package 5 Channel mixer 4-5 wireless, 2 zaxcoms and a bunch of ifb I have no problem with. However when a client isn't renting any gear from we I usually try to get $525.00-$550.00/12. They are balking and told me there traveling mixer who they are calling there "Sound Supervisor" only makes $400/12. What do you guys normally do? I don't feel like $525.00/12 is excess since I am not getting any gear rental.
Last reply by studiomprd, -
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Looking for an online source for cheap Duracell Procell 9V, Lithium 9V and Lithium AA's. Thank you!
Last reply by Steve Joachim,
