Jump to content


  • Posts

  • Joined

  • Last visited

Contact Methods

  • Website URL

Profile Information

  • Location
  • Interests
    Audio, Wood working, travel, and good food
  • About
    Production Sound Mixer based in Cleveland, Ohio. I like to cook, travel, and pretend I’m a woodworker.
  • Interested in Sound for Picture

Recent Profile Visitors

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

  1. Hey Larry! I always think people having transparent rate discussions is always a good thing, it benefits the industry at large and not discussing rates only serves to help producers keep costs down at our sacrifice. I've been having some similar conversations with steadicam ops and gaffers I know, just for an additional reference point. Ultimately my goal is to provide a premium service and to run an effective business that doesn't cut corners for my clients but in order to do that I don't just need to personally make a living but my business needs to turn a profit too. I feel I charge in way that's fair to both me and my clients. For reference I'm based in Cleveland and mostly live in the commercial, documentary, and corporate world, but occasionally do narrative projects or oddballs. My current rates (plan to raise in 2023) are $750/10 ($900/10 if union commercial) and equipment varies based on the shoot here is a list of what I currently charge for equipment: Mixer/Recorder: $175/each/day Booms w/ Mics: $75/each/day Wireless Booms: $125/each/day Wireless Lavs: $75/each/day Camera Hops: $75/each/day IFBs: $50/each/day Timecode: $50/each/day Slate: $75/each/day It's really all over the place as far as jobs total cost but I have two jobs this coming week. Job 1: Regional commercial with me and my boom op both making $750/10 for labor and an equipment package of 1 recorder/mixer, 1 wireless boom, 5 wireless lavs, 5 IFBs. 3 sync boxes, 1 camera hop, & 1 slate which is $1225 for the day in gear which puts the total at $2725 for the day - $750 for my boom op = $1975 total take home Job 2: Testimonial video at cyc studio on 3 cameras. $750/10 for labor and an equipment package of 1 recorder/mixer, 1 boom, 1 lav, 3 timecode boxes, 1 slate, 8 IFBs, & hardwire mixes. which is $950 which puts the total for the day at $1700 equipment and labor combined. I keep my rates publicly listed on my website that dictates both my rates and terms that I send to every client when negotiating: https://henrirapp.com/sound-mixer-rates/
  2. Watch Full Video or read companion article at: https://henrirapp.com/sync-for-video-production/
  3. Yeah, might not be the best technique for narrative productions, unless you are using something like a black lav on a black shirt, etc. I'd say its really more of a technique I employ on documentary productions. Sometime its the best option, sometimes it isn't. Just have to use common sense and your best judgment to when it is appropriate.
  4. Recording Sound for a Short Film or Indie Films Recording quality audio for a narrative production, whether a short film or feature length movie, has a lot of challenges. No matter what budget or production scale you are working at from indie short films to fully funded feature films, a lot of principles carry over and can be applied and adapted. A lot of it comes down to preparing for the shoot, having the gear & experience to best utilize it, communicating with other departments, and using critical thinking & creative problem solving. Audio is one of the most immersive parts of the films we all love to watch, and it all starts with the production sound. Read Full Article Here: https://henrirapp.com/recording-sound-for-films/
  5. For what you are offering there you should be able to get $650/10 for labor & for that gear package it's easily worth $550/day (broken down as $350 for base kit [recorder, 1 boom, 2 wireless], an additional $150 for the two additional lavs, and $50 for the one comtek). At that $700 you are unfortunately being taken advatage of.
  6. I think it depends on needs and and I anticipate myself cutting back in coming years as I will soon be at a point where unless I get a very large scale job I won't need to rent ever....as it is most gigs I still don't have a need to rent gear. For the last several years I've been averaging $10k-15k per year in new equipment. 2019 I hit $22k in new gear acquisitions. Again depends on what you need and how much work you have.
  7. Read Full Article at: https://henrirapp.com/lavalier-technique-buttonhole-rig/
  8. Here is an article about using a paperclip as a lav spacer: https://wavreport.com/2020/02/15/paperclip-lav-technique/ Another that works great for shirts with buttons (My favorite technique) is to poke the capsule of the mic just out behind the button itself. Here is a photo:
  9. Whoa! That's a technique I've never heard of or even considered! I'll have to try and employ it sometime! Yeah....it's a mix of safety pins and paperclips....guess I was on the lower side of paperclips vs safety pins. I keep both in a film container in my kit.
  10. Using A Paperclip To Create An Air Pocket Around A Lavalier Capsule Read Full Article At: https://wavreport.com/2020/02/15/paperclip-lav-technique/
  11. There is something to be said of resale value. Oktavas aren’t going to hold their value, high end mics will.
  12. I own a pair of Joly modded Oktavas, DPAs, Neumanns, and have used Sennheiser mics extensively. No experience with Audix or Audio Technica. All great sounding mics. I will say that a lot of the so called “issues” people claim with MK012s I have never had issues with. No RF problems ever, even when connected to wireless plug on. Handling noise and wind can be solved with a good shock mount and wind protection, and quality poor. If you use budget accessories you’ll get budget results. Shock mounts and wind protection isn’t a good place to cheep out. The Joly modded Oktavas sounds night and day better then unmodded MK012s. That being said my modded ones hold their own with mics several times their pice, like DPAs and Neumanns, and personality like them better then most sennheiser mics I’ve used. The noise floor is surprisingly low on them as well. Ultimately mics are not a one size fits all for everyone’s voice. The same mic that sounds full, big, and smooth on one person’s voice may sound harsh and thin on another person. Choose based on the situation. Are there better mics? Absolutely! Are they bad mics? Absolutely not, they don’t have the hype that top tier brands but that doesn’t make them bad mics. With top tier brands like Schoeps, DPA, Neumann, etc a lot of what you are paying for is build quality (longevity) and consistency of all of their mics performing under the most demanding circumstances.
  • Create New...