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Everything posted by GJD

  1. GJD

    Playback rig

    Thank you Phil. That makes perfect sense. I see that location playback rigs are simplistic overall - the intricacy lies in the tracks you are given my production to edit in (ideally) Protools. You remind me of another question I've had - What's the advantage of Dante networking on location? I'm familiar with Dante but only in a FOH, concert situation where it's relied on to maintain a clean signal over hundreds of feet of cable runs and a seamless back up (in redundant mode). May I ask which console you use? GD
  2. GJD

    Playback rig

    Hey Everyone I'm starting to assemble an audio playback rig and am wondering if anyone can share ideas/what they have. I'm still shopping around for software but my hardware basics are covered. Thanks Greg D
  3. Tough love, yes. But a VERY necessary point. It doesn't just happen in location sound but in FOH/festival sound. People with money to buy gear after researching specs, underbidding the pros and over-saturating the industry.
  4. This is a great topic, I think. I, personally, have been too proud to admit the emotional toll set dynamics can have on the sound or (especially) video department. These are two departments that work in conjunction with Camera dept. and the actors, yet very much behind the scenes to the point where by the time sound dept needs to address an issue, the AD dept may be out of patience. I've learned that it's really the DP and 1st AD that drive the mood, points of communication and priority of tasks. The power of the DP makes the camera dept ever-present, and the 1st AD is negotiating the flow. That being said, it's up the sound dept to perform a very steady balancing act. Developing a personal relationship with these two figures is KEY. They'll at least consider you on a personal level when you ask them questions and keep them posted on what's happening in your world and how it's contributing to the process. I say balancing act because you want to be social, but not social. That can be a waste of energy. Moreover, if these efforts seem futile, the next balancing act is between taking the utmost pride in your job, and adopting the "you get what you pay for" attitude. I give very little attention to the latter mindset, as you're on the project for a long time and that negativity can lower your morale. We all have different ways of negotiating the job, our role, etc. But the end result is always the same. Learn new tricks of the trade, invest in new toys, sign off on your finished product, collect your check and wait to see your name in the credits.
  5. GJD

    VTR jobs/gear rental

    I appreciate everyone's feedback, but maybe I was unclear. I was hired on this job as VTR. I have seen producers expect sound mixer to run playback but obviously the mixer said "no that's Not how it works, according to contract." but that's not the case here. My question is more about the gray area between video ( local 52) and camera (local 600) and who can touch/use what in regards to bnc cable and monitors. Also about whether or not it's kosher for a VTR to show up with just an odyssey 7q (for example) on a film with a relatively low budget.
  6. GJD

    VTR jobs/gear rental

    Jeff, definitely. The classification is specific and jurisdiction borders on the play button. Camera, sound and script supervisor can all have playback monitors - but if anyone's going to watch it, there must be a video assist on the payroll. The problem that comes up though, is that the budget rarely calls for anything more than a video recorder with a 7 inch screen and bnc cable. Tensions rise when actors want a better picture and camera department has 4 monitor screens.
  7. Hey everyone Evidently it's common for members of the sound department to be cleared for VTR (video playback) positions on lower tier films. I'm about to do my second. Usually a convergent design odyssey 7q or a video devices pix e5 suffices. My questions: is it ideal/expected for me to provide monitor screens as well? As to not tie in with camera department's monitors? Are lower tier productions willing to pay so much for an extensive kit? They've already given a kit fee quote and it definitely only covers the recorder. Any insight and shared experiences are more than welcome. Thanks!
  8. Indeed. Sorry to hear that you missed Sept. Hope you're keeping busy.
  9. GJD

    Mixer of choice

    I've never used any of the Cooper CS mixers but I'm assuming they have much better sounding preamps than that of say the Allen&Heath Zed series? I'm apprehensive about using the same mixer I'd use for mixing a band, for a panel and even reality tv.
  10. Anyone on here awaiting a test date for local 52? I ask in the interest of making connections with others in my boat - or generation, if you will.
  11. Hey Everyone I am available for any (last minute) sound utility calls you may need to fill. I am a well-versed Local 52 sound applicant. I'd be happy to share my resume, which outlines my skills and experience, if necessary. Regards, Greg DeCellio
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