Jump to content

Rifthead

Members
  • Content Count

    7
  • Joined

  • Last visited

About Rifthead

  • Rank
    Member

Profile Information

  • Location
    Washington DC
  • About
    Sound Mixer and storyteller in Washington DC
  • Interested in Sound for Picture
    Yes

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Rifthead

    Camera Hops

    I don’t know how fair it is, but I charge based on what I’ve learned from what other mixers wiser than myself charge rather than cost of timecode box. To my mind knowing how to troubleshoot stuff, having all the necessary cables, and making sure it all works is what makes it worth the rental price to the client, in addition to the sync box itself. EDIT: glad to hear other people don’t go cabled. I’ve had some clients ask for that if they don’t want to pay for a sync box, wanted to make sure I’m not out of line to tell them no.
  2. Rifthead

    Camera Hops

    Types of jobs you do: Documentary and Corporate Camera audio will be final or reference: almost always reference Mono/Stereo hop: Mono Sennheiser G3 RX and/or G3 IEM Most common cameras you work with: Sony FS7, Panasonic EVA1, Canon C300 TC needs: sync boxes if run and gun I use the Sennheiser IEMs as my IFBs as well as hops, which is great because I've only got one transmitter in the bag for both. Curious if others here offer cabled TC if a client doesn't want to pay for sync boxes, if cameras will be locked off.
  3. I'm with you Ty. I think it's important to communicate clearly (which doesn't necessarily mean explaining the WHOLE problem to the producer...I used to get a lot of blank stares before I figured that one out) when you think there's an issue. Give them the pros and cons...ie if you have background music, that faint air conditioner hum might not be an issue after all. It can be a frustrating dance, because a lot of time when I bring sound issues up, I feel like producers ask my opinion on things I don't have control over. My favorite from this week was when I asked if they wanted me to roll sound while the camera gathered B-Roll, and they replied, "If you think we need it." Not really my call, that's an editing decision. But hey, you can always choose to NOT use something you have...can't really choose to use something you didn't get in the first place.
  4. Rifthead

    The sounds of Mars

    If you're jonesing for more interplanetary sound, the Podcast 20,000 Hertz has an amazing episode on what sound would be like on most of the planets in the Solar System: https://www.20k.org/episodes/spaceremix
  5. I got to play with the TCX-2 while at a Sound mixer mixer in Maryland today (thanks to Nick Huston for bringing them and a bunch of other fun stuff down from Gotham in NYC). They're even smaller than a Tentacle (but a little bit heavier), have a nice big front display so you can check timecode. Pretty cool little units.
  6. Oh it is, check the next step of the ladder... Gotta say though, that probably sounds better than just leaving it mounted to the camera.
×
×
  • Create New...