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Dwayne Kittelson

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Everything posted by Dwayne Kittelson

  1. Yah that's the plan as well/alternatively but either opportunity is seeming pretty hard to get without any connections this time of year.
  2. Before I get attacked for offering free work let me paint a bigger picture. I just moved here from Saskatchewan and in order to successfully submit my Permittee Application for IATSE 891 I'm required to have on set experience in the Sound Department. The main obstacle seems to be that in order to get any experience on set it appears I need that initial favor of getting on set without any prior connections; So, as cliché as it is, instead of working for money I'd be willing to work for experience. Partly because I need the days for my application and partly because I do, in fact, need to gain experience working under a sound mixer on set. -I graduated from Pacific Audio Visual Institute (Vancouver, BC) in 2015 for Audio Engineering & Production and have experience as a recording/mixing engineer dating back to then. I also spent my time at PAVI completing a single semester internship at Vancouver's "Blue Wave" Recording Studio. -I'm fluent in Pro Tools with an advanced understanding of Signal Flow and Sound Fundamentals. -I've also read Ric Vier's "Location Sound Bible" and Patrushkha Mierzwa's "Behind The Sound Cart" to prepare any of my existing sound knowledge to be transferrable into location sound. The main objective I have is to get on set and help out in any way that I can so I can start gaining days for my IATSE application, and of course, to start getting a feel for how things are done in a real world setting. Dwayne Kittelson (604) 861 8778 (Txt or call) DwayneKittelson@Gmail.com
  3. I'm sure this is solved by now but just for the sake of conversation, If my memory is correct Pro Tools was having some quicktime/video engine issues with an update that happened around the time this was posted so that was most likely the cause, I can't remember if it was universal or tied to an OS update though. If by the off chance anyone is still on that version and still having the issue then simply updating PT should fix the bug.
  4. This was actually my plan but I didn't see a clear route directly into the sound department with my research. I had the same thought about PAing usually leading more into the production department of film work but it still made the most sense in regards to just getting some foundational experience on set and making general connections. I would love to just jump right into being a sound trainee but considering sound teams are generally pretty small I didn't really know the path to that besides for simply getting on set and showing that I can keep up with the pace; and for that PAing seemed to be the answer but I would love to hear alternative choices. Pro bono is definitely one of them, and I was actually curious how I may be able to use my Pro Tools experience as leverage but I wasn't sure if it really mattered on set. Plus, as Ironfilm mentioned the sound guys work closely with every department so I figured that PAing would help in that regard as well just to give me a basic understanding of how everything works on set instead of focusing on just sound right from the beginning. Thanks for the advice.
  5. I just worded it poorly, we're both talking about the same thing though I think. What I was trying to ask is what is that 'tipping point' for gear where even with good technique, it will still lack in comparison to other recordists with better gear. I just don't want extremely cheap gear to be my weak link so this thread was mainly to find out where that line is. And to everyone else, thanks for the advice, I do agree with renting as the time comes but the thought that comes up when I think about that scenario is I don't want to turn ANY opportunity down. So in the chance that I may be in the right place at the right time and find a low budget or indie gig, I don't really want to be using the gear for the first time at my first gig. So maybe a middle ground would be to at least buy a recorder and become familiar with that rather than buying the whole kit? Which items do you think have the biggest learning curve? My first guess would be the recorder and the wireless systems. Obviously in a perfect scenario I can work under someone and learn the gear, but I also want to be prepared for potentially finding a gig and not having to rush to learn all of the rental equipment the day before. Pros and cons on both sides of the fence I guess.
  6. I was given similar advice that when applying to IATSE for the sound department I should also put in a secondary application as a Grip, which makes sense since I have worked a lot of construction/carpentry type jobs throughout the years and like the whole physical labour aspect of it. I wouldn't mind being a grip but ideally in the long run sound is where I want to end up. But you're right, I definitely see the value in getting familiar with each and every department; I was hoping to get a taste of that as a PA. Do you think that other departments (such as grip, etc..) would...I'm not sure how to word it...but look down on me or 'scoff' me if I were working in their department but was clear about my intent on getting into sound? This makes sense and seems to be the logical answer that I'm seeing the most. My only concern with this is the chance that I may be offered a low budget opportunity and then I will end up going onto set my first time without ever actually being familiar with the gear, and maybe using it for the first time. I was maybe thinking of only buying a recorder and becoming familiar with that and then renting the rest as needed. But would you agree if I were to own one item and know it well, that it would be a recorder? Wireless systems also come to mind when I think of things that I should be familiar with before my first gig. Of course, in a perfect world I find someone to work and learn under, but I also want to be prepared for solo gigs just incase I'm in the right spot at the right time. Pros and cons on both sides I guess.
  7. First a very brief background - I went to school for Audio Engineering in 2014 and have been freelancing as a recording engineer and doing audio post for music. I have a lot of experience with Pro Tools and a strong understanding of the post production process. I had a short job back in 2015 for a feature film where I was the assistant engineer assisting in Pro Tools editing and recording guide tracks for them to use on set during the production process. But the thing is, back then I was young and more focused on music, I wasn't ready to commit to the full 12-18 hour days of working on set. As time has gone on I've realized I don't have as much fun with music as I originally thought that I would but I'm still in love with the fundamentals of sound and the technical side of it. The more I look into location sound and realize the life style aspect of the job, along with the types of personalities that succeed at it, the more I realize it's what I should have been focusing on this whole time. With all that being said, I know none of it really matters for the road I'm about to go down haha. I'll be moving back to Vancouver on April 1st and trying to get into the industry as a Set PA with the intention of transitioning into the Sound department. What are some pieces of advice that you would give to someone working as a Green PA with no connections that is trying to get picked up by a sound mixer as a 2nd or a 3rd? (UST or Boom op obviously) I've been reading a lot about set etiquette and fundamental books like The Location Sound Bible and Patrushka's new book "Behind The Sound Cart" designed for UST training and I'm confident in the foundation I've been building. The next step is actually getting on set and starting to get some hands on experience, so again my question is simply this: Once I get on set as a PA, what should my focus be in regards to getting picked up by the sound department? And how can I make it clear to my ALM or Key PA that I want to be near the sound department without it coming across the wrong way? I obviously want to learn about the entire film making process as that's also important to being a good Sound mixer, but I want to make it clear that my focus is on getting into the sound department. Thanks!
  8. When designing your first audio kit, where is the line that you would draw between not getting yourself too deep into spending money you may need in the beginning versus still being able to get noticeably great audio? I don't want to overspend, but I also don't want to let low end gear give me a bad name right off the bat. Of course, this is all under the assumption that my boom technique is good enough to capture the quality of the equipment used. -For a first recorder I was thinking a Zoom F8n, it's a bit pricier than I want but I don't want to get something cheap that I'll feel like I need to replace in a year. Overkill? Is there something much cheaper that will still seem on par with quality? Can't seem to find an F4 anymore and an F6 is almost as much as an F8n so I didn't see the value in many cheaper options. Even a used 633 is still quite a bit higher than I'm wanting to spend right away -For my first shotgun I was thinking a Rode NTG3, mainly because it's a bit wider for indoors than a 416 and will still do great outdoors. (Rode Blimp/Fur + Rycote Shockmount System). -For a boom I was just going to get a decent $200-300+ internally cabled one from a store that feels good. Suggestions? -For Wireless systems I had my eyes on the G4 as everything else a next tier up is much more expensive and I don't want to get anything else much cheaper due to dropouts - but maybe I should just skip owning G4s and rent something better until I can afford something better? Or will g4s generally take you pretty far in your career? I also heard the lav that comes with them isn't that great. Not sure how I feel about Rodes wireless systems but my impression is that they are something you'd be upgrading soon? -Not quite sure about which IFB system yet (probably rent in the beginning?) and not sure about timecode or extra accessories yet. Anyway thats the rundown, any advice? Feedback? I've never done location sound before but I'm coming from a music recording/music post production background and will be starting as a green PA trying to get into the sound department. Advice? Also before these books are suggested, I've already read the location sound bible and I'm currently in the process of reading Patrushkas's new book "Behind The Sound Cart" Thanks in advance! Sorry for the long read.
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