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Everything posted by PCMsoundie

  1. I used a SD 888 recently outside when it was 90 degrees F (32 C) with AC power and it put off a lot of heat. I had it in a bag with sides open and even put a XLR head between the 888 and the bag wall to have 3/4" air on top and bottom. I only had 4 of the analog channels turned on. The XL-AES accessory was installed but not being used. It was still hot to touch. The 888 Operators manual states that is 140 degree F ! from Sound Devices 8-series FAQ I was considering for long term perhaps having a heat sink for natural convection would be better especially for when in a bag and running around you don't want a lot of space around it to jostle around. Would a heat sink help here? Doing a little searching on JWSound I found this very old 2009 post about issues with Sound Devices 788T in a bag Has anyone used a heat sink on top of their 788T, 688, or 888, Scorpio when in a bag as you were concerned about heat and longevity of the electronics too? Any experiences you can share? I was considering a 1/2" tall heat sink as a passive heat exchanger big enough to cover the entire top of the 888. I really don't want to use Thermally Conductive Grease (like Lectrosonics silver conductive grease) on the 888.
  2. On June 8 Amazon turns on the Sidewalk mesh network. It runs on a few technologies 915 MHz “LoRa DTS” (Long Range Digital Transmission System) as well as Bluetooth Low Energy (BLE) [2.4 GHz ISM band] I'm concerned we are going to have RF spray and some major RF issues with part of the spectrum of older Lectrosonics D4 902-928 MHz system starting June 8. The D4 Tx was always Niche doing 4 channels on a digital stream. Obsolete now? June 14 Tile trackers start using the Sidewalk network too. Does any other pro audio wireless RF gear use that range (902-928 Mhz) also? I think the license-only 940 band from Lectro is safe. 940 (941-960 MHz) more info on this tech that will be in homes and businesses and most likely Amazon delivery vehicles. Sidewalk has a larger range than Wi-Fi — in theory, up to 1,500 feet, according to GridConnect. Amazon’s wireless network, explained https://www.tomsguide.com/reference/what-is-amazon-sidewalk Amazon's Sidewalk Network Is Turned On by Default. Here's How to Turn It Off The company's Sidewalk mesh network goes live June 8. The good news is that you can turn it off. https://www.inc.com/jason-aten/amazons-sidewalk-network-is-turned-on-by-default-heres-how-to-turn-it-off.html https://medium.com/@prajzler/amazon-sidewalk-a-technical-deep-dive-3e7dd80f0aee
  3. Is the Icon Pro Audio QCon Pro G2 Control Surface a possibility with the Sound Devices 8 series (or 633,688) in lieu of the Sound Devices CL-16 16 dedicated fader unit? Icon Pro Audio QCon Pro G2 $700. USD approx 8 touch-sensitive motorized channel faders universal control surface with Mackie Control and HUI emulation 12Volt2.5A DC powered USB 2 connector 14.6lb heavy.. https://iconproaudio.com/product/qcon-pro-g2/
  4. When I first started out we were doing a press day when Tori Amos founded RAINN organization and there were crews setting up for interviews in a few rooms in an old building in East Village, NYC. wooden floors and hard walls. One crew had treated their entire room (maybe 10x16 feet) with soundblankets on the floors only and when I walked past it it still sounded full of echo. So yes blankets hung vertically help a lot more. On a movie I dayplayed for another mixer we were in a large room. The boom op helped me use furniture blankets on C-stands vertically in a V-formation spaced about every 10 feet back from our area. It was the first time I had done it but he told me his regular mixer did it that way. I think we used maybe 6 C-stands. It did help somewhat. On a short film in a bathroom with one character standing in front of the sink talking to himself in the mirror with CU shots only I put blankets out of the shot in the bathtub and under the toilet and they made a huge difference. It is like when you go into a new home and there is an empty bathroom without a shower curtain. Here is Excerpt from Sam’s Tail, a branded comedy for Heineken. scene starts at 2:25 I need to get some furniture blankets. Maybe start with a few. I heard on a youtube video that some people can buy them cheap used on Craigslist. black/white or grey is the key thing here... And yes a shag rug is gonna do wonders in a room acoustically but for a working film set not very practical to cart around and setup. So when I've had to goto a person's home for narration record I tried to get a walk-in closet or a room with carpet and heavy drapes. Along with this thread topic I have recorded voiceovers in people's walk in closets. I have also lined a small closets' two door doors with blankets held by spring clamps at the top and had the narrator face into the office's closet and record some VO. with the door open maybe 25 degrees. I have built temporary voiceover "booth" out of 5 blankets. In a large very reverberant space I used 3 as a triangle hanging from C-stands, one laid over the top, and even one on the floor and gaff taped it down on the edges. Boompole coming in from overhead on a stand. I also setup a C-stand holding a small solid flag for talent to lay their script on and another lightstand with a 150w fresnel peeking in the top corner so they could see. We are talking about 2 minutes of VO to record immediately after host reads to camera on a set 50 feet away.
  5. Let's talk about DCHT (Digital Camera Hop Transmitter) specs. Lectrosonics makes 3 digital wireless systems: DSW System Encrypted Digital Wireless System using DBa Belt Pack Transmitter ANALOG INPUT ONLY Sampling Size and Rate:24-bit, 48 kHz Audio Frequency Response:20 - 20 kHz, +/- 1 dB Digital Modulation:8PSK D4T Digital Hybrid Wireless Diversity Transmitter 2 or 4 channel operation line level analog audio signals and AES/EBU digital audio signals 48 kHz/24-bit audio, ruler-flat 20-20000 Hz frequency response and now just announced in 2019 DCHT (Digital Camera Hop Transmitter) The DCHT accepts two channels of mic or line level analog signals or an AES digital signal from a mixer and transmits to the receiver or receivers in a purely digital format. Frequency Response: 20 Hz -10.5 kHz ± 1 dB Compatibility Modes: • DCH (Digital Camera Hop) Digital Modulation: 8PSK Specifications subject to change without notice On Gotham Sound website they list: Frequency Response 20 Hz – 14.5 kHz ± 1dB On the manual's DCHT Block Diagram is a "Rate Converter" So that would mean the AES3 digital 24-bit/48kHz signal is getting SRC (Sample Rate Converter) to 32kHz inside the DCHT before transmission? DCHT Ok for most dialogue but not music. Opinions?
  6. I have a shoot there next month. Is there any update on RF Blocks ok in Costa Rica? Coffee Farms so probably way outside any city.
  7. I've also done this half a dozen times. Sony PDW-F800, F55, Amira. Using SD633, 552, 788T, 688 units. HD-SDI carries 16 channels of AES. The most I've seen available is 8 channels using a VCR such as a Sony PMW-1000 XDCAM SxS Memory Recording Deck but that is really just displaying 8 channels on playback. For AES digital in it is usually just 4 channels on camera, VDRs, if you use an audio embedder it will take up to 16 but you may require 2 embedder units to add audio to 16 channels since each one can only add 8 channels. Some really expensive units allow access to 16 channels of AES input on 8 BNCs such as AJA FS-1 frame synchonizer.
  8. The way I look at it is if you can use a camera's XLR inputs that conform to the AES3-2003 standard for digital audio @ 24-bit/48 kHz is you are just using the camera as a bit-bucket and no loss of quality. No awful analog circuitry to introduce noise or low bit quality A-to-D converters used in the camera itself. With 24-bit you don't even have to worry about low levels since the A-to-D converters are in the sound equipment not the camera and thus bigger dynamic range (without limiters if desired.) With a mixer/recorder like a SD 688 internal digital router you can send any Prefade or Postfade ISO or mixes to any of the 4 AES tracks. With a wireless system like Lectrosonics D4 you can send 4 digital tracks wirelessly to a camera. I wondered if the idea r.paterson mentioned would work (onboard mic goes on ch1 (xlr1) and aes 2 track goes to xl2(set to aes goes to tracks 3/4 on f5/f55) or if you had to have only all AES on both inputs. Good to know.
  9. I went from a SHURE FP12 HEADPHONE BRIDGING AMPLIFIER to the Sound Devices MM-1 for a boom op o over 12 years ago and it was better in a number of ways. first it wasn't just a headphone amp for hardcabled boom op. and I wasn't only providing mic pre from my mixer. I could do wireless boom. I agree with many of the others above for using as a boom good mic pre before a TX for wireless boom op. the low cut filter was nice but especially the limiter. For non-scripted corporate stuff I also use it when I only need 1 headphone at video village for a director/producer or if there is a teleprompter operator I'll set it up just for them instead of breaking out Comteks.. The sound quality is lightyears above a Comtek PR-216. Paired with a slightly nicer pair of headphones than cheap consumables that are broken in a matter of weeks it sounds good and runs on 2 AA batteries.
  10. If a cameraman has the kit and is just hiring me as labor I bring my harness and headphones, toolbelt. I view them all as personal tools. No my toolbelt is not like a 1st AC bag kit. Keeping a few things in my bag of tricks like a Shure A15AS Switchable Attenuator XLR, a couple XLR turnaround & BNC barrels are lifesavers, and as an A2 a Whirlwind QBOX Audio Line Tester I live in NYC and on a labor-only day take public transportation and it's not like I am bringing my full kit and leaving it in my car parked at location "just in case" for À la carte item rental. Just as Wandering Ear mentioned it's also not my preference to have someone else's sweat-stained smelly harness I am expected to wear. If I have used their kit before & know and they have absolutely no clip-on velcro straps for cables, snake, headphones I may bring a few to make my life easy if it is a run & gun day. If it is a production /crew company it's also pretty similar but not too often do I come across these gigs. If anything is not working in their kit I do the gig with what I have, label the items as NG, and label the case as well, and usually email them listing the items that are not working and then it is up to them to fix it as I have informed them. David Waelder I love this!
  11. This is a good way to get Direct Outs when the FOH soundboard doesn't have them or there is an automated system. Thanks. Making my own mix is better and if a lot of inputs and using a the Dugan & MixAssist or Zaxcom Nomad (Auto-Mix) tool on some mixer/recorders is also an option for a better mix anyway than most AV FOH mix feeding the P.A. system.
  12. For a video shoot when documenting an event with a podium or dais table of speakers: When asked to get soundboard feed from an AV company contractor at an event or conference and it is of a low quality we have choices but as usual it depends (mostly on time.) sometimes there is a active press mult box but often I'm the only one taking a soundboard feed. I wanted to see if others came up with better ways... If it is at a hotel usually it is just an analog MONO feed out of a mixer that is doing the amplified P.A. system for the event. Sometimes it is a setup and walk away room where there is no human monitoring the wireless RF mics, mixer, or P.A. system at all. It just may be a busy hotel with a low priority on AV or a very small hotel. Over the years based on experience I will come with every connector type to take a feed as it may be my only option to get something out of the board. Often it will have a low buzz or hum. Usually eliminated with a ground lifted transformer like a Whirlwind SP1X3LL Line Level Splitter. A big issue for me is when the Audio/Visual dept. sets up the audio for the P.A. only inaccurately and has very low micpre levels and overall levels feeding the speakers as well as the feed they give you. Since they leave open all the faders at all times the noisefloor is close to AM radio reception noisefloor. These are situations with 3 guys on lavalier mics or a handful of handmics used as table mics without goosenecks and the FOH A1 has never heard of noise gating. In the room PA it may sound "okay we can hear them talking" but on our headphones when you have a all-day event with 2 or 3 sessions throughout the day it is numbing to listen to. Another major issue is RF Coordination in advance with the event organizer, contractor AV company, sometimes liasoned through a hotel AV department, actual A1 Front of House guy getting your request in advance for just a couple frequencies so he can coordinate on his end and ideally assign you 2 frequencies and 2 backups if you are being required to take a wireless board feed if they will not allow you to run XLR cabling for safety reasons or time reasons. Another way I can eliminate the low quality feed is by being able to split the microphone(s) at the stage bypasses their preamps low level and any ground loop issue coming out of the FOH board. I would use Whirlwind SP1X3 - Mic Splitter on each mic cable before it goes to a snake. This is fine with just a couple mics but problematic when there are 10 mics from a table of speakers. This gets a little hairy if you are there to document the event but not there for the entire day. Usually I will take their feed and if I have time also take a split of the podium mic myself if I can. The politics sometimes make it more of a challenge since it is their sandbox and equipment. Sometimes I am also able to take a Direct Out from their mixer for the podium mic only and then I have that clean as an ISO without the powerpoint sound FX and any music from VDR playback videos, or still low playing walk-in music. Sometimes I will discretely place a boundary mic up on the podium as a backup mic. And if none of that is possible I will run a lav mic up the gooseneck of the podium mic and into the podium mic's foam windscreen or underneath the mic with my own windscreen. This gives options when a terrible sounding soundboard feed is offered. Usually you want to have a crowd mic MONO or stereo for all applause. How else do you guys solve this problem?
  13. Agreed. With the social media from SD stating "between 633 and MixPre-6" it puts this mixer/recorder/interface really for bag work. I don't think the people buying this are going to setup a cart and it becomes an interface for a computer-based recording rig running Boomcorder or Metacorder with a middleware software mixer that most interfaces offer for musicians such as MOTU or Focusrite, and use a MIDI or USB 100m linear fader 8-fader console to make a mix. Can they? Sure but it seems like a patchwork way of doing it a decade after Boomcorder was a cheap option of multitrack audio in the field. The location of the _ONLY_ media card is underneath the recorder (when in a bag) . I suffer through this on a 552 unit that I sometimes use. I curse the designers EVERYTIME I insert or remove the SD media for it's location and having to unplug cables...SD will surely come out with a mixer control surface with faders for this internal digital mixer that is USB. The SD website doesn't have the User Guide up yet until the unit is released but how it is categorized on their website says a lot. It is under the RECORDERS section, not under the Mixers with integrated recorders. At a cost of $1799. MSRP with only an SDHC/SDXC card as sole media the option of Auto-Background Copying to a USB thumb drive is better than nothing but it sounds like a 2nd recorder would be better if you are at a sound cart. "change metadata/track names etc. after a file has been copied?" This would be an issue if the SD card failed or became corrupted. Since SD categorized this as a recorder what other options are out there? older bulkier units but with the same or better specs such as AES digital inputs/XLR-4-pin POWER INPUT which would be good as a backup 8 track recorder. Tascam HS-P82 8-Channel Field Audio Recorder $1999. Roland R-88 8-Channel Recorder and Mixer $1995. and extremely low cost portable multitrack recorders like Tascam DR-680MKII 8-Track Field Recorder $749. Zoom F8 Multi-Track Field Recorder $999. While I love SD user interfaces, I also really want a feature like Zaxcom's Neverclip. You really need 2 media rolling these days. The high end guys all use 2 separate recorders. The market the product is after are not high-end guys, thus needing 2 CF or SD media cards in the same recorder at least. There are many price points and products from SD now and they are coming under heavy competition from companies like Zoom and I wouldn't be surprised if Behringer entered the portable multitrack audio market with an announcement at AES this month.
  14. real-time graphics & interactive: a new dimension in storytelling virtual reality, augmented reality. Lucasfilm and ILM have launched an interactive unit see the 2:30 length video here: ILMxLAB Launch https://www.youtube.com/watch?t=36&v=7T9Dv1aLMbw so very cool stuff with real-time interactive graphics in the Star Wars universe. This is the next type of gaming as well as next type of narrative-based storytelling for CG-animated TV shows and movies like Avatar (2009) but the graphics done in real-time during production. The actors recorded with lav mics wearing motion capture suits... from a Hollywood Reporter article 'Star Wars' Virtual Reality Experiences One Step Closer June 12, 2015
  15. I really enjoyed being able to go and meeting some older and new guys and always talking shop. Thanks for organizing it Alex!
  16. I also agree. Even on the features I've done ranging from $500k-1.5 million budget non-union it helped. I have also been asked by other mixers who were going from one show to another with no time off to do the paid location tech scout for them a couple of times. In NYC that is one 15-passenger van with above the line and key dept. heads along for the ride. I've taken notes and some digital still photos (wide shots) at each location and email it all to them. It is what I would want myself if another soundie were scouting for me. For some of my TV work one client where they do paid location scouts the day before production on a 1 or 2 day bigger shoot with a crew of 20 where it is also non-union and I have a great relationship with the DP who I got the job through I have some discussions with him about camera and lighting creative ideas too (since we are close) before he talks with his gaffer. Since most of our work together is a 3-person crew anyway where i assist with engineering, grip, lighting on the small shoots. I have also been able to have enough time to order additional specialized rental sound equipment based on those days for our needs. Even though the location is locked in I am able to ask that we move 100 ft away from a loud noise source or something. This is on a job where we have 1 or 2 putt-putt generators for lighting...
  17. Hey guys, I wondered how often do you feed videocameras AES inputs? Since the cable runs are so far from Production Sound Mixer to camera a 110ohm XLR cable isn't exactly Canare Star Quad cable with breakaway snake. Sure With 110 ohm cable, the theoretical limit is around 100 metres for AES digital audio. I know on some jobs over the years I wish I had access to a SDI Audio Embedder for a video line cut on Digital Betacam or HDCAM VTRs to have it all on one tape instead of analog feeds of ISOs to all cameras. Or even having AES outputs at the time which I could route various inputs to for 8 audio tracks on a VTR next to me. I've done one job about 6 months ago where I was near one of the 4 cameras (no line cut) on a commercial and fed out of a SD744T 2 AES channels down 2 BNC cables over to the camera and then with an adapter BNC-to-XLR adapter and used short 110 ohm XLR Apogee wide eye cable for the camera input. It's a great feeling knowing that I can feed a 24-bit uncompressed LPCM to the camera and it will record in 24-bit without going through the analog circuitry. it was one of those one take kind of things and they wanted backups. Instead of getting 2 744Ts I suggested putting all 4 tracks on the Sony F-800 camera. The client was happy and it saved them money and they had a backup. Are you guys starting to use your recorder's AES outputs to feed the Sony cameras more often rather than just LINE LEVEL XLR? Sony has had them on cameras dating back to 2004 with the PDW-510 XDCAM. With the Lectrosonics D4R & Zaxcom QRX100 receivers offering AES output sure you can feed 2 or 4 channels of AES input on the camera via wireless hops (on reality/documentary/feature film). With the cost of 788T and Nomads (and their size) it is really a no brainer for production to just have 8 or 10 tracks as a poly WAV file rather than only 4 tracks of audio on-camera. Are more productions requesting 4 channels of audio on cameras? mostly reality-tv genre shows?
  18. This. I've wanted to have a discussion on similar subject matter. Alex brings up If someone on a shoot who is young is genuinely interested in asking about camera or sound on a non-narrative TV set I will answer a few questions. I am not going to teach them the job. It is not in my best interest. It is not in the professional sound recordist community within my region's best interest. If a client asks me to teach a PA sound I will tell them one thing but not step-by-step. That is what classes and books are for. It sounds like your client just showed you the door because they want to be cheap rather than be loyal and know the value in which your fee comes with. You might just have to be unavailable in the future rather than discuss further based on the emails you and the company already traded.
  19. Hey guys had a great time meeting some new soundies. Thanks again Alex for organizing this meetup. I also look forward to seeing you all again soon for these semi-regular chats. Yes the camaraderie was very welcome in a job where we are the only one usually on location in our department even with 30 others around unless we have a boom op. The beer hall/garden locale was great too. Good to have some photos to put with the names. Brian
  20. I saw this other topic in this forum: Smart Slate: Sound Dept Vs Camera Dept and and it got me thinking about the sync boxes attached to HD & digital cameras. I realize that on most sets the sound person is generally regarded as the person in charge of syncing things (since we have the better clocks on the timecode equipment) and with slates and sound the syncing usually is for multiple cameras to the mixed sound recording. I think this is more with scripted narrative shows rather than TV but when exactly did 2, or 3 smart slates providing timecode on the set being supplied by the sound department become a regular thing in the last 15 years? Some equipment interfacing with cameras started being supplied by the sound department. When did Syncbox's start being supplied by the sound dept on scripted narrative shows? Was it when the HD cameras became pretty standard on sets in the early-to-mid 2000s with HD's requirement for Trilevel Sync (and thus needing a Lockit box feeding blackburst)? Was this because of reality-TV series with many cameras on set or did they just pick it up from scripted narrative shows (like episodics) using many cameras? I've used the Denecke SB-T and I think the SB-3 Dcode Syncbox Time Code Generator. I don't own one and really haven't been asked by hardly any TV producers to provide them. I've been on a few jobs where they just showed up and I had to use them. Am I supposed to suggest them to be used even if I don't own them? When during pre-production would be appropriate? Should production add it to the camera rental or should I be responsible for this if there are a few cameras on the shoot?
  21. We've all seen those camera AC's with huge plastic carts that are not magliners that ride on the trucks but aren't great when it comes to not-flat off-road locations. That same company makes other carts that work in 80% of locations that have flat surfaces: for low-cost sound mixing carts for regular style 2-person dept. production or for in-the-bag style: OPEN SIDED THREE SHELF UTILITY CART-BLACK-300 lbs total capacity, 100 lbs per shelf. It is a busboy cart for restuarants. Cart-Utility Cart, Three Shelf Open Sided-Black [4091BLA] http://www.rubbermai...products_id=624 I bought a 2004 model and had to file down the black plastic for the aluminum poles to be able to be taken apart and put together otherwise it is a one-time build and doesn't come apart. Fine for studio but not good for location. $125. cash on the Bowery from a restaurant supply company. It sets up in 3 minutes and breaks down just as quick. I've affixed a PVC cap to hold the boom pole bottom and a rubber boom-pole holder for the side. Medium and large spring clamps on the top hold XLR & BNC cables. I've used this cart for 2-person sound dept. shoots and also to just hold my mixer/recorder on a low budget commercial or promo shoot when I am booming myself. If it is a 2-3 day shoot the cart fits nicely on the truck and 2 Pelican 1600 cases fit on the lower shelves horizontally. ---------- alternatives for the rest of the sound dept. on wheels since we are talking about walkers and child wheelchairs: To be honest this cart is too big for most locations but someone might find it of interest as a follow cart. No drawers or locking areas though... Some DIY work would be necessary $540. Housekeeping Cart, Compact-Black [6190BLA] http://www.rubbermai...products_id=391 this might be able to be repurposed though: Janitor High Capacity Cleaning Cart-Black [9T72BLA] $222. some DIY work would be necessary. http://www.rubbermai...products_id=635 alternative follow cart: Fully enclosed, lockable storage compartment Rubbermaid 6180-88 Trades Cart with Locking Cabinet $475. http://www.erubberma...th-locking-cabi net-includes-2-parts-boxes-and-4-parts-bins
  22. I have as well while concerned if my own Workers Compensation insurance would cover it. Specifially these type of locations: Circus and Carnivals, Motorized Sporting Events, Professional Sporting Activities (which is pretty much ANY pro sport!) After traveling 5 hours to get to location I was given the paperwork to sign and a "ALL ACCESS" pass which on the back stated that I agree to them not being liable. 'Them' being the event organizing company & the production company. I used to carry a memo in my Palm Pilot of what the fine print in my policy did not cover. I would need a rider for coverage in these instances. Here is what that list was: These are 1099 jobs. As an independent contractor my client can ask me for a certificate of a General Liability Insurance policy. It hasn't happened yet. I do believe I've signed releases specifyingI am paying my own taxes and insurance. I've asked my insurance agent and she said to give them a copy and they will determine if I am not covered in my own policy and I can purchase a 1-week rider for the duration of the shoot. How am I supposed to get this paperwork 2 business days in advance?... This one I haven't had to sign a waiver but yet I know I'm not covered under my own workers compensation insurance.
  23. >When booming, how do you learn the lines when you do not speak the language? I have found this is where experience comes into play. Watching body language and breathing patterns of the talent will give you some ques. I don't have the experience of a feature fully in a foreign language but I've done shoots in various languages. It really doesn't matter what sound comes out of the talent's mouth our job is to record it as best we can with the tools we have. I'm sure some of our JW Sound members who have worked in Miami or Texas can answer this when working with a lot of Spanish-speaking talent on a Spanish language produciton if they don't themselves speak Spanish.
  24. Hey guys I wanted to ask what are the norms for non-union shoots for when overtime starts? For 1099 jobs that are invoiced for services & equipment rental: I've been freelancing for over 8 years and usually it's a 10 hour day including meal break. after 10 hours 1.5X overtime. Usually until the end of the shoot which could go up to 16 or 18 hours. Now I did an ESPN job about 4 years ago (2 person docu. style + 1 producer on-location) and the cameraman told me 1.5X OT after 10 hours. 2X OT after 12 hours. I billed for it and no problem. Only a few other clients had me bill for 2X after 12 hours over the years. Like I've read here on JWSound 'overtime is not meant to make us money but as a penalty to dissuade producers from the crew having long working hours...' What are your experiences with 2X OT after 12 hours on non-union non-timecard/payroll shoots? Is there a lot of pushback from production companies or national/regional crewing companies for 2X OT after a certain # of hours? Are there any typical OT 1.5, 2X after # of hours for certain networks and cable networks? Again I'm talking without payroll timecard as some jobs are billed. Has anyone had any experience with 3X (or as one JWSound member wrote $100./hour) after certain # hours in a deal memo negotiated upfront or invoiced for after a ridiculously long day like a music video? How have producers reacted to this type of language in a deal memo from the Sound Dept.? I'm not even talking about meal penalties at all, just the OT and the rate.
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