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I was looking at some photos taken on set in the photo section and remembered that in Toronto, the camera union IATSE 667 has a rule forbidding all still cameras on a film set except those of the set photographer. Does any other camera union have such a ruling on union shoots?
Last reply by Jeff Wexler, -
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This may seem like a strange question, but I'm wondering if anyone here knows if there is any equivalent to Rule One between SAG and IATSE. It looks like I'll be forced to join SAG in the next couple of months, but I really don't see a need (at this time) for me to join IATSE. So I'm wondering if there will be any problems with me working non-union sound gigs. Thanks! Phil
Last reply by Andrew Bellware, -
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Hi all, I just watched a movie that was shot in 1996, and in the sound department there was someone credited as the multi-track recordist (this was in the same section of the credits as the boom ops and production mixer). Was this a short lived credit created after the Zaxcom's started showing up? I've never seen this credit before... Thanks! Phil
Last reply by Jeff Wexler, -
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See the USA in your Chevrolet.... So the deal is I have two talent in a car for 10-14 days.  My guess is based on the nature of the shoot I'm going to have to wire the car up (Sanken Cub's I'm thinking) and record onboard with a HDD (Sound Devices 744 or 722) and also split this to onboard cameras (ala Taxicab Diaries) and wirelessly feed the lead/follow car/van/semi/megatrailer. Suggestions, ideas, good jokes? I haven't used the Cub before but everybodies write ups seem very positive. The car will NOT be a convertible (so far - Thank God) but of course there is plenty of time for production to change their mind. In the past I've used most…
Last reply by gformicola, -
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Hello all, this is an invitation to visit my new personal website.It contains several english pages and one french language page. Any suggestions for links to add to my website are appreciated . Thank-you. Joe Cancilla. www.sonvl-efpsound.com P.S. I realize that i have posted this in many other places, including Ramps,CAS.,Recording Arts forum etc.... my website is not a discusssion forum,it is more like a reading room,it will constantly be updated with new links.Happy Reading. P.P.S. Thank-you Jeff,i have learned many things from reading your posts in the forementioned websites.
Last reply by joecan, -
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http://whitewolf.newcastle.edu.au/words/index.html
Last reply by soundtrane, -
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   First, I would like to thank everybody for this forum and RAMPS. I'm learning alot from them. I'm a soundperson located smack dab in the middle of the US. I've been a sound person for over a decade learning on the old beta format. I've done it all from news to small movies. I've been doing sound on DAT's for film and straight to camera for video and HD is just starting to show up here. (The horses are slow and we roll up the sidewalk at night.)    I'm trying to decide where to go next. Film is beening used less and less and nobody has asked for back-up recordings yet. Once client has the Panasonic AG-HVX200, the other has the older 100's. I'm thinking of ge…
Last reply by Sergio Sanmiguel, -
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A question for people who deal with this question regularly... If you have a choice between recording at 16 bit depth and 24 bit depth, what considerations do you take into account in choosing between the two? I've read the ramps debates on this issue, and my sense is that they tend to be highly theoretical, which may explain why they are so inconclusive. I've tried to frame my question in a way that invites discussion based on real world practice; that is, what are people actually doing? Thanks.Â
Last reply by takev, -
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We have 45 registered members as of today which I find quite gratifying since this forum has only been up for a day. I do have a question which maybe can be answered by someone who has had a lot more experience than I have, participating in online forums and such. Why is it that so many people register with odd cryptic sounding names instead of just their own name? I know in the old CB days everyone had a "handle" ("what's up Big Rocker" and things like that) but i don't think that is the answer in the Internet age. I know there are some who definitly want the anonymity that the Internet can so easily provide, so maybe that is the reason? There may be some really good …
Last reply by Michael P Clark, -
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The question came up on RAMPS today regarding producing a Podcast. The person asking the question needed some help using a Marantz flash based recorder, I believe. My suggestion was to ditch the Marantz standalone recorder and do the Podcast directly on the computer using GarageBand 2. I realize that not everyone has a Mac so my suggestion may be of no use, but I was struck by something that I think may be of interest to all of us. Having worked as a professional sound person for so many years, I was amazed when Apple first came out with GarageBand. This was softrware that made it possible, even for regular people, to record, edit, clean up and mix music, producing very p…
Last reply by ptalsky, -
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Yup, sprayed by a lion today, just enough to know I'm his now. I had moved my rig away from the cage a minute before when the trainers warned us it was coming. The all clear was given so I moved back in, but his aim was fast and true. I think he got three of us, make-up and a little on camera, which was not rolling. BTW we were outside his main cage all along. The trainers encouraged us to spray right back. : )
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Hi all, i am a newbie to this group and let me start of by saying that i have found an excellent group of profeesionals i have been a sound mixer for some time for ENG/DOCS /TELEVISON and have since moved on to working in features my questions are- what amount of ADR( as percantage of production sound) is done in a typical big budget hollwood commercial film or average hollywood film,even indie films for thatmatter, do they vary,in terms of using poduction sound i woild like to have examples of big budget hollywood flms that have used extensive ADR an how they matched it with the production sound also similar ones using extensive production sound(done …
Last reply by Jeff Wexler, -
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Im still pretty new to production sound with around a dozen projects mixing and/or booming under my belt. Can someone give me the low down on the various unions? How do they work? How do you get in/out? Benifits? Experiences? I'll be honest I have never been a huge fan of "Unions", but it seems that it is the nature of the industry so I would like to learn how they work. Thanks! Brian
Last reply by John Coffey, -
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We just got stuck shooting in the rain all day Monday. I was comfortably dry under a pop tent, but my boom op and microphones were getting rained on. We stuck a bag over the wind screen to protect the mic, but the big drips made a lot of noise on the plastic. How do you guys protect you're gear in the rain?
Last reply by John Gilman, -
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Hi all, I just finished watching "San Francisco" from 1936 and I just have to say WOW. Amazing special effects for the day, and the sound was really good. Makes me wonder how they could do so well in 1936 without multi-track recorders, analog or digital mixers, wireless mics, etc. etc. etc. Do you ever think that maybe we spend way too much time thinking about our "toys"? ;-) If you haven't seen this (or haven't seen it in a while) I highly recommend it. Check out the earthquake scenes and the scenes where they are dynamiting the city to stop the fire. Sounds pretty darn good to my ears. (Okay, yes, I missed having the deep bass rumbling during the earthqua…
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Hi all, what are the other production sound sites besides R.A.M.P.S , thanks for all info Harry
Last reply by Philip Perkins, -
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If the software permits it, could I suggest that participants in this site be given the ability to edit their posts? Some of us use devices like the BlackBerry to post, and when small screens are used there are times when, for whatever reason, there are grammatical or spelling errors that are not apparent until after comments are posted. Then of course there are situations where one wants to refine the content or tone of comments. Not essential, but something to consider.
Last reply by ptalsky, -
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Hey Jeff, what's your take on the confrontation between the IA International and Local 600 over the issue of camera operators? I'm not familiar with the situation except thru email blasts I've been getting lately. They say that there has never been a non-ratification of a contract by a Hollywood Local before, and there seems to be a lot of acrimony between the camera people and the national leadership. Philip Perkins
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jwsound.net DISCUSSION FORUM is up and running
by Guest jwsound- 12 replies
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Today I managed to put up this FORUM on the jwsound.net website. I hope this will be used by many of my friends and collegues in the community of professional sound people working in the Entertainment Industry.
Last reply by pd170user, -
Welcome to SMF!
by Guest Simple Machines- 0 replies
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Welcome to Simple Machines Forum! We hope you enjoy using your forum. If you have any problems, please feel free to ask us for assistance. Thanks! Simple Machines
