cory

Nice looking. However, what I really want is the Wendt X3R3! (3 channel mixer w/ iso recording) (though I would settle for a sound devices 3 channel mixer/recorder as well I guess) Also-- anyone know the expected price for the 664?

This one is specific to us, but we're pretty dang proud.

+1 on talking to the cameraman Ask him how much he wants it and see if he can pressure production to adjust. If not, being tethered isn't the end of the world. In fact, I find that it helps focus the crew on the run and gun stuff sometimes-- you have to move in sync so you find yourself cooperating and working together a lot more. When wireless hopping in a hectic situation, sometimes people forget that I still need to be able to get close to subject with my boom. Also, it's much easier to squeeze by/gain access to some places when you are literally connected to camera! Side note: Producers in indie/reality world always start negotiations low. I find it useful to start with a basic package/rate and let them know that additional gear costs more money-- give them clear options with gear/cost with the implications that it has for how things will go on set.

Forget PT--- long live VST! (reaper, sony vegas, nuendo, logic, etc) This demo seems amazing. I am definitely going to try it out... I just stacked up Jay's demo w/ Jackie against a pass on the Cedar DNS1000 (basically an expander). The UNVEIL definitely does a slightly better job at first glance with the "de- reverb" (though it IS close)

I would definitely use the 400 series. I find that the 200 series sounds distincly worse. Did an A B taste test the other day and was surprised to find that I like the sound quality of the Sennheiser g3s a little better than lectro 200 series (but lectro range is much much better than the sennheiser stuff...)

Copy that. I understand that union membership isn't a magic "automatically get tons of awesome work" thing. However, several people have asked me if I was in the union and I realized that I really don't know much about the NYC post sound union at all-- advantages and disadvantages. I'd love to hear the perspective of someone that is already in IA as sound designer... Any people who work over at Sound One or C5 here on JW?

Thanks MARC and SENATOR. So would I as an individual join 700, or would I have my company join 700? Anyone here either in 700 or know someone who is? I'd love to pick their brain a little..

BEFORE, all you had to do was throw a Zoom like a ninja star at whatever makes noise on set and *BAM!* you've got perfect sound! NOW, all you have to do is throw your iPhone like a ninja star! But seriously, what would make the most sense to me(since the iDevices are just tiny little computers anyways) is to make a tiny 8 channel interface -- think Sonosax Minir82 size that sends 8 ISOS via USB2 to your iPhone/iPad. Developers should stop trying to use the iStuff as A/D converters and instead just use them as solid state recorders only.

Hey Phil-- this was a pretty great post (though not exactly what I want to hear for morale purposes.) Our business model and idea is also to try to do post sound for the things that we do production sound for. While this does happen sometimes (and it is pretty great when it does, because we know exactly what materials from location we're working with!) we also find that it doesn't happen enough. Hoping to figure out how to change that. One thing that comes to mind is to have a community of people on this forum who are able to throw post work back and forth. Funny enough, I have found that many people on JWSound have either done production sound for movies we have posted, or posted movies that we have done production sound for...

I am definitely interested in meeting some more posties, especially sound supervisors. The post union stuff is a little confusing to me to be quite honest-- anyone know what the situation is in NYC?

I kind of figured... Any thoughts about how to reach out to some of the better indie features out there?

[if you think that I should post this in a different section, please let me know] This question is more for people who are on-set only type folk... How often do you find that production comes to you asking either for you personally to do the sound design and mix or for a recommendation from you for good people to go to? If you are working on a union gig, does that mean that the post has to be union as well? I do post audio at an independent sound house in NYC, and am trying to elevate the quality of movies that I am working on. I know that many of the folks on this forum are working on very interesting/quality content, but I had always assumed that the sound person wouldn't really be involved in the choosing post facilities process. Someone recently suggested to me otherwise. So even though I am a little skeptical... Is anyone here interested in having me process/mix some of their work? I have some pretty heavy de-noise guns over here that may interest you. I am looking to establish friendly relationships with top-notch location mixers [in NYC but also in other states] who would feel comfortable recommending me/my studio as a good post house (but obviously there'd have to be some getting to know each other)... Thoughts?

This may be a little off topic, but Just wanted to send you guys in the direction of my friends at Cockos' program, REAPER (www.reaper.fm) IMHO ProTools is a bloated, over-priced program. Reaper has all of the features of ProTools (and more!), is a fraction of the cost, and has the most responsive development team I have ever encountered. Oh yeah, it works on both Mac and PC, can run off of a thumb stick, and 7 to 10 MB. I have used Reaper on AND off set, and find it absolutely incredible...

Thanks for the heads up! People around here talk a lot about blk 26 and 21, but no mention of 23... good to know!

+1 for Maha PowerEx AA's (use the 8 bay charger, it's nice and fast) +1 for the iPower-- the older liths had a an issue if you ran them all the way down (blue print) but the newer ones (purple print) don't seem to have that problem. The iPower chargers don't have the longest life (a bay or two will likely go wonky after 2-3 years)

+1 on the DR-40 being much nicer than the Zoom H4N (not that I like either one of them that much) The DR-40 has: 1) MIC/LINE SWITCH 2) LOCKABLE XLR inputs 3) TRUE LINE IN The Zoom does not, when going line in on the Zoom through the main ins, you're going to need a pad. FWIW I really like the Oade Brothers pre-amp mod on the R-44-- I think it sounds great!

José "I just bought a UCR411a/UM400a block 23 system just three weeks ago and I love it." So Blk 23 is working well for you in NYC? How many channels do you use?

Wanted to use the D4 for camera hops, but can't figure out elegant batt sled solution for it-- form factor is just too much of a problem for me at this point... Tom-- how did you solve the power/mounting on camera issue? Seems like it wouldn't work with shoulder/handheld rigs elegantly... Can't wait to see what happens next gen..

+1 on the RF mod. Worked like a charm for me. I suggest sending to a local place instead of Plus24 (unless you're in Cali) to save time. Still get RF problems when 100mW or more powerful transmitter is within 2 inches, but can usually avoid that

I am a big fan of the Countryman B6 for narrative. I find that it's very effective (in most but, as everyone has said, not all situations) to put the Countryman B6 AND a small tension loop inside the RM-11 and then double sided tape to the chest, bra, or collar. What I would love to see (not sure if this exists or not yet)is an RM11 with some vamps on it. THAT would make my day. Anyone else ever wish for this one? When on docs, I almost always use Tram TR50s vamped to the collar, or showing outside.

It is a labor of love.

Hey JW Sound community. I'm a sound designer and re-recording mixer but now I'm taking on the hat of PRODUCER for an animated feature film. I need some help refining my pitch and was hoping to get some community criticism. The pitch is here www.thechampionmovie.com. Please tell me how I can improve the pitch... Thanks!