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greg sextro

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About greg sextro

  • Birthday January 1

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  1. Real question is: how do they sound? Lots of people have been using other solutions to the R1a such as a Sennheiser IEM. If these sound better, then I’m interested.
  2. I have one - use it as a C slate. Also use it for when the ACs complain about the TS3 size. Bought used for cheap 10 years ago maybe, (paid $250) and it honestly works just fine and keeps solid code. +1 To Brian, battery door will likely break. Make sure you get your hands on the manual. You will need it to operate the menus properly.
  3. Phil nails it on the head. We leave the music up for the directors and actors when they need it for performance. Usually it's for the rehearsal or maybe the first couple of takes (if they really need it).l I actually am a little surprised they didn't edit in dialog from a take that doesn't have the music before needing to create an M&E - meaning that they used the production mix or track with the playback music in their initial post mix. Could be a time factor. Could be a performance factor.
  4. My deepest condolences to you and your family Jeff.
  5. Have you tried contacting Zaxcom? are you sure your ERX is a model that supports TC? Can you see TC on the display but are not getting it output from the receiver. Have you set your output settings correctly. Have you checked that both the TC settings on the Nomad and ERX are the same. Have you adjusted the output voltage of the ERX?
  6. My thinking has been that upgrading the hard drive and ram should clear up the few hiccups I've had. Almost all the CPU overloads I was having went away when I stopped using a Euphonix as a control surface. Its nice to hear that I'm not the only one who's not planning on always upgrading a computer to the latest OS, etc...I think I'm going to do the final step of upgrading the hard drive and see how everything goes. I used to spend a lot of time dealing with upgrades as I tended to do fresh installs at bigger intervals. These days I like to work as little as possible when I'm not actually at work...
  7. Question for the hive mind: I've got a 3 year old MacBook Pro that I use for playback work. Pro Tools runs pretty much fine - but I've decided to upgrade the hard drive to an SSD and up the RAM because every now and then I get a hiccup with bigger sessions. I can't quite decide though if I should upgrade my OS (still on 10.9.5) to the latest, which probably means needed to upgrade my Pro Tools from v10 up to 11 or 12. Normally I'm pretty good with upgrading, but since I've largely stopped doing post work, I've not felt the need to always keep up with the upgrades. I suppose I'm now at the point where I simply can't decide...Do I upgrade the OS and PT software - or just stay put? I'm kind of sick and tired of always needing to upgrade all these devices (iPhone, etc...) when they generally seem to work just fine. (Am I turning into old curmudgeon?) I suppose this is more of a rant than anything - but I'm curious what y'all would do in this situation.
  8. Try a Restaurant Supply Store. I paid about $30 bucks each for the 3x5 ones I carry, but I definitely find them to be better built/more durable, and with thicker rubber.
  9. I have no qualms with the dealer - they've been doing everything they can to get in contact - it's the manufacturer that has not been responding. I noticed a small issue when I got the unit and now a major one has popped up.
  10. dealer doesn't know what to do either really. they have been contacting the manufacturer for other reasons as well.
  11. I am in need of some advice. I'm having problems with a brand new piece of equipment I purchased and the manufacturer (name currently withheld) has not responded to the multiple contacts from the dealer, and has not responded to my personal contacts either. I am all set to publicly call them out as I can't think of any other way in getting them to possibly pay attention. Has anyone run into problems like this? What should I do?
  12. http://nycppnews.com/iatse-local-52-settles-new-york-state-equal-job-opportunity/ Agreement Offers A Level Playing Field For African-Americans, Latinos, And Other Minorities Schneiderman: New Yorkers Must Have Equal Employment Regardless Of Race Or National Origin Attorney General Eric T. Schneiderman today announced a settlement with the International Alliance of Theatrical & Stage Employees, Local 52, concerning the Local’s admissions process and the exclusion of African-Americans and Latinos from the union. Local 52 agreed to an overhaul of its admissions process to ensure equal opportunity for membership without regard to race, ethnicity, or national origin. In addition to injunctive relief, the Local also agreed to pay $475,000 in monetary relief. “My office is committed to ensuring equal access to employment opportunities in New York State,” Attorney General Schneiderman said. “For decades, the film and television production industry has been a cornerstone of the New York economy, an international symbol of our state, and a source of good-paying jobs. I applaud Local 52 for taking steps that will make more of those jobs available to all workers regardless of their race, ethnicity, or national origin.” Local 52 is one of the labor organizations representing employees in the film and television production industry. Headquartered in New York City, the Local’s active membership totals over 3,500 employees who perform a variety of essential jobs – for instance, electrical, grip, property, sound, and video – on film and television shoots in New York and four other states. Beginning in 2012, the Attorney General received complaints from experienced African-American and Latino applicants who were denied admission to Local 52 – many of them repeatedly – about irregularities in the union’s admissions process. The investigation revealed that the Local followed a policy of nepotism in admissions and inconsistently applied its application procedures – such as prior work experience and examination requirements – to the benefit of family and friends of mostly white existing members. These policies had a discriminatory effect upon minority applicants and caused significant disparities between the number of African-American and Latino members in the Local and the number of minorities in the available labor pool in New York. Under the terms of the agreement, Local 52 will: restructure its admissions process; adopt equal employment opportunity/anti-harassment policies; hire a diversity consultant to assist in the creation of a recruitment plan to increase the number of minorities in its applicant pool; establish partnerships with educational and community organizations aimed at identifying and preparing African-Americans and Latinos for the industry and for membership in the union; hire a full-time human resources director to manage the new admissions and recruiting processes; develop EEO/anti-harassment trainings for all union leadership and new members as they join the Local; establish new recordkeeping requirements; and pay $475,000 in costs, fees, and restitution for complainants who participated in the OAG’s investigation and were denied admission to the union. “We are pleased to have assisted the Attorney General’s Office in casting a spotlight on certain arbitrary and illegal barriers to local union membership for Latinos and minorities in New York’s lucrative film and cable industry” said Jackson Chin, Senior Counsel at LatinoJustice PRLDEF. “We are likewise pleased that the Attorney General’s Civil Rights Bureau has looked into the concerns we raised, and has taken action to implement measures that will lead to fair access to union membership and equal employment opportunities.” Howard Sherman, Interim Executive Director of The Alliance for Inclusion in the Arts,said, “For decades, our organization and other advocates have been working tirelessly to diversify the film and television industry, both in front of and behind the camera. I applaud Attorney General Eric Schneiderman for working to make this highly visible industry reflect the true composition of America today.”
  13. Sound Report Writer http://www.inaudiblelabs.com/srw.html
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