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Eric Thomas Rice

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About Eric Thomas Rice

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  • Location
    New York / New Orleans
  • About
    Production Sound Mixer and Playback Operator
  • Interested in Sound for Picture

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  1. All of these are valid points I guess. My friend and I walked up to the booth to find a sonosax and the wireless in a Ktek bag. So we figured it was setup for the public to test. I would imagine it was still setup from the last demontration. If it’s surprising that we got on the bag without being with a Diety rep, it sounds like you guys were on the ball with quickly connecting with the public and maybe we just were unnoticed in all of the fervor that is NAB. But this also leads me to wonder how far off the settings could have been changed without anyone knowing. Unless someone just walked up, changed, settings, and left ¯\_(ツ)_/¯ I did not go through each setting, so settings could have been off. I’d be happy to give it another go. Next time I’m at the shop, I’ll see if I can take them for a spin.
  2. Myself and a buddy checked them out at NAB. He clipped on the mic, I manned the bag. He walked honestly about 7 feet before multiple dropouts. I understand its NAB and there's RF everywhere BUT that's supposed to be the point of 2.4ghz auto-switching, correct? Bag was upright, TX was upright both in front and behind the wear-er. We switched and he had the same thing.
  3. I've always told production that my 12 hour day starts at the call time on the call sheet and that they have me until 12 hours after that. However long they want to eat lunch or wait for sun doesn't affect my 12 hour day. Sent from my iPhone using Tapatalk
  4. Lav them and drop the bag in the backseat?
  5. Someone mentioned in this thread that is "geared towards the DSLR market." Is there anything about these units that would stop you from using them in place of any other sync box? These look amazing and at an amazing price. How do these compare straight up with the other popular options?
  6. Sorry. I should have been more clear. On my 633, I'll pan the boom post fader left and the lavs post fader right. So on my traditional L&R channels, I have a boom mix and a lavs mix. I'll record the mono mix on X1 which is usually what is sent to ifb and camera hops. If if they don't use the sound and information that they paid me to give them, there's not much I can do but do my best to provide as best mixes as possible. Of course I want my sound used as much in the final edit and of course I know that post regularly uses mixes or files that I wouldn't, but there's not much I can do at that point. It sucks that they're taking shortcuts that affect the final product, but whatcha gonna do. I sleep well know I gave them all available options to end up with quality sound. I can only lead the horse to the water. Whether they drink or flop around in the mud is their choice.
  7. I almost always boom post fade (left), lavs summed post fade (right), mono post fade mix of everything relevant, then everything pre fade ISO. Data is cheap so I give them everything and properly labeled. That way they have everything in whatever format they choose to focus on. I send the post fade mono mix to IFB. That way the director, scripty etc hear only the important parts as does post for dailies/rough cuts. I feel like that covers me on all angles. If a particular post team chooses they don't want my boom and lav separated mix and only the mono, they have the option to ignore those mixes. And vice versa. If I'm missing something or could improve on this as at least a starting point for my workflow mentality please let me know, but I can't see why any editor wouldn't be happy with those options presented. Cheers!
  8. Facebook user Donavan Dear posted a picture of the back in the Zaxcom Nomad / Maxx Users group.
  9. They're all locals from what I gathered. It's not stated but I'd guess it's for LA Film Prize. >15 min short. $50k grand prize. Biggest prize for a shorts festival. The only stipulation is that you have to shoot in the Shreveport/Bossier City area. A lot of teams are crewing up now. I worked on one last year, for free, that got the equivalent of 6-7 place out of ~120 entrants. The festival was a BLAST. Extremely talented and knowledgable people and we all worked for free. Deal was, if we won, we'd all get paid well. It's a job you take if you aren't booked and wanna have fun helping friends and friends of friends. 2 day shoot, with very modest hotels. My point is that none of us know specifics. We can all take this in the context of anything less than Union or union-like work is an outrage and get our pitchforks and burning torches ready, but it isn't always like that. I don't know anything about these guys but they weren't lying about the job or anything. They didn't take 20 emails to drop a low rate on you. They admit the rates are low but understand they can only do what they can do. It may be a great experience for someone early in their career. It may be a giant waste of time and frustration. But at least they're not hiding anything. I'd have rathered take a job that was upfront with me rather than showing up and realizing I was duped.
  10. Again, I'm assuming this particular "production" is on the up and up, but this is turning into a more general discussion of how to approach low wages. The sub minimum wages aren't the absolute only thing crew can gain. They are obviously only going to get newbies or inexperienced crew. Maybe it'll be someone's first sound mixer credit. Or someone gets to camera op when they've only been utility before. The credit/experience is good for those at the very beginning of their careers. I worked for free for a year and a half busting ass, meeting everyone I could, making good impressions, learning set etiquettes. It eventually paid off. No one can live off these wages, but the crew that does accept these jobs probably have a part time restaurant job or may still live at home or who knows. Is this job for any of us? No. But I took jobs like this and was excited I was finally getting paid to do what I love. Now I wasn't close to owning a 744, lectros or a 50. My overall point is that sometimes we jump on ads like this because it's easy to only look at it through our more experienced eyes.
  11. Like I said I'm not defending anyone. I'm just saying that from what I gather from a few calls and emails was that it didn't appear to me like they were trying to be disingenuous. And most "low budget" producers are usually "disingenuous" until proven genuous. I also make up words in my spare time.
  12. Thank for elaborating exactly my point. They never represented themselves as a huge production looking to skim off our backs. Ya gotta start somewhere and at the very least, I appreciate the fact that they even had us in mind with any kinda cash. At least it wasn't just for pizza and imdb credit. I do hate the lowballers and make it a point to either inform a production that their budget isn't correct for what they want, or blast them a new one if they are trying to lowball intentionally. But in this case, I do feel they are just doing what they can with what they've got. Every single one of us has been there.
  13. Of course it is. My only point in even replying is that they weren't expecting anything incredible. They got their gear requests based on what I said I had. They're just a student-film-level shoot. It's not a job for anyone on the site and they understand that.
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