jacefivesound

Well, I can't comment on your contracts, as we aren't in the same union local, but I would hope that the negotiated rates wouldn't be considered shitty. Yes, the LA unions need members and yes at this point they would probably push any contract so long as they were getting money into the funds, but nothing will happen without a push, so a push in the direction of unionizing and FAIR pay, not low pay, would be a good direction to go in. Many of these mixers make $500+ for 10-12 hours; making that amount plus benefits is still fair pay. (Edit, not talking about narrative mixing here, talking about strapping a bag on and running and gunning ENG style) As someone who has worked in reality for a while, I'd happily take my same pay with benefits added, no one asking me to do things that have nothing to do with sound, and an overtime structure that will be enforced. As someone who has worked in reality for a while, I'm also looking to be done with it forever ASAP...

Many of you have probably already seen this in some form or another, but the IATSE posted this on Facebook this morning: "Congratulations to the crew of "Master Chef," who have won an IATSE contract with MPIPHP benefits! This victory on a major show helps to raise standards for folks working throughout unscripted TV. The resolve and solidarity of the crew on this show were strong enough to bring the producers to the table and secure a contract without a work stoppage." I, too, will be working on a unionized reality show beginning next week. I think it's time to discuss and believe that reality TV crews can and should be unionized. Facts seem to become very distorted and producers hear union and run, but I've spoken 'off the record' to a few execs who know full well that unionization of their reality shows won't change their business model. They would still pay the same rates with a small bit more for benefits. Their business model shows so much profit because they don't have to pay a big crew or hardly any 'talent', union rates for reality TV crews wouldn't hit them as hard as they like to pretend it would. We also spend a lot of time talking about being undercut and not letting younger mixers give themselves away for free. Unionization of more productions will set more rates that can't be undercut, as scale is scale and that is the end of it. It's sad to look at shows like '1000 ways to die' on which crew tried to organize and production was cancelled completely. These production companies are so hard headed about setting a precedent that this work will be non union, and I, for one, think it's time to fight back and show that we know what we're worth.

If the mic is already black and you're seeing it in reflections you're simply going to have to move / be more creative (or wide) booming / not boom - they will ALWAYS see the boom, even if they clearly see the camera/camera people/dolly - the boom is the first and last thing they will notice. Do a take with no boom, but don't tell camera. When they yell "BOOM!" at least you'll finally begin to be able to show them everything that they think is the boom/mic.

You know, they may have fabricated the whole fabrication business.... I feel like we're getting into a PG Wodehouse situation here...

Mullet cart, now that's a good name! I actually got that PSC for free for renting out my 788t for a day. I needed to put together a small cart quickly, I'm slowly transitioning away from being a bag mixer, but still have to work out of my car... Anyway, this works for me for now, the top comes off, allowing the PSC to fold up and fit neatly on top of a 1650 in my hatchback. As for the long run, I'll consider building the whole thing out of 80/20 but I like the idea of a really clean custom job as well, and I have some fabricators in the family.... And that's a 788t with a CL8 in the picture, not a mix8. I like the setup, simple and it works. I will eventually go the way of a nice analog console I hope, but this works for now.

I built a top for my PSC cart out of 80/20 - worked great!

I'm currently on set of Gilded lilys final day of production here in Boston. Very nicely done show which would make sense right now following the success of Downton Abby. We shal see, but my guess is, provided a pickup, this show will see its way to New York as well.

Im happy to buy up block 21 so let the rf spray. My 788 doesn't seem to effect it much differently than any other blocks. Use tracking front end and put hops and IFB a few blocks away and I'm happy. Block 21 is nice in Boston!

Sorry, i misread your post, which is why I deleted my last post. I guess I've never had to interface with the Epic and Scarlet, the DIT has done it every time. Glad the Alexa uses the typical 5 pin.

Awesome! You cracked the Da Vinci code.

Hm, now that I'm looking again it looks like the ones I bought (These ones) are 'b series' as well, and they did not fit. The ones I linked to in my original post are a different size than these, but Im having trouble confirming the correct timecode 'standard'...

I just spent $60 on the wrong size lemos doing this myself. After my problem I ended up ordering one unterminated end from Trew, so Glenn and the boys may be able to sell you the part, which is around $20 retail. Here's the correct sized part for timecode: https://www.distrelec.com/ishopWebFront/catalog/product.do?language=en&shop==YY&series=1&id=01&node=DC-88207&artView=true&productNr=118592 PLEASE someone correct me if this is wrong, but after all my research the B series 5 pin lemo is the timecode standard.

Looks like there's a light on the switch to indicate when it's on

Thanks Jim!

the windtech one is great... I think it's this one for the 60: http://www.trewaudio.com/store/product.php?productid=936&cat=39&page=4

It's been noted that they spec much higher than is necessary. Just tested my non ssd while sitting here and got 22.2

Did all your interference happen in the same location? The quick blast through a range of freqs makes me fear a dreaded white space device may have been in use where you were...

The day I stopped considering myself green was when I was contacted by a "former exec from sesame street" to mix a puppet/kid crossover show. I was alarmed by the lack of money for labor and the complete lack of equipment budget for sound, and told her 'sorry but no, other jobs are offering to pay me in full at that time, so I can't do it.' It was a half truth, to say the least, but better work did come on the same dates. A friend worked with her, and the crew was all PAs and 2 local AC 5D camera owners, who were getting paid a much better 'DP' rate than she had lead on. Boom op was a PA who was too scared to get close to the edge of frame, and couldn't hear the difference between 'on' and 'off' mic. No mixer who has worked with her since will go back, or has been conpensated on time. I'm happy producers throw such obvious red flags if it makes it easier for me to avoid them. If that's what all producers end up being like I'll be looking for a full time job, because this won't be nearly worth it anymore.

I can confirm the same crewing hardships in the east, although our indies are smart enough to know we need boom ops, typically. I have gotten to the point where I just say no, if I should have an op and can't. Every time it loses me a job a better opportunty opens up. I think of it as karma.

The job I just wrapped involved camera and G+E bringing their own HME systems (runs on 2.4, like everything else now a days, I believe it's one of their 'drive through' systems). If they needed sound for a cue we just hooked up a comtek RX to one of their TX and left it open (owner's had cables built for comteks specifically to HME I/O). I have no idea how it worked, because it wasn't our problem, and that means it worked just great. http://www.hme.com/

I, personally, would do 2 sections of 50' 9913 with a coupler in the middle, which is only going to lose you 2-3 db. That way you have 50, and can have 100 for those tough situations. Remember that, as was mentioned here, you have to open up the venue and switch the power on if you need to power your antennas. For 50' runs - 100 ' runs you could probably leave the antennas powered at 3-4 db, but you could also get Lectro's external amplifiers instead if you wanted to switch your power on and off depending on the length of your run, and didn't want to open your venue every time. Here's a coax calculator. Just remember, there's a reason why thick, un-trainable 9913 is typically meant for perminant installs... Coax Calculator http://www.timesmicrowave.com/cgi-bin/calculate.pl

Hey Jan, what are you using for antenna mounts there? Is it a stereo bar on a boom pole? Best, J

Good to know. Did you replace the drive yourself? I imagine working in there is much like doing surgery, although the drive is right there at the top...

I haven't had this on my machine. What firmware are you running? Regardless, let us know what Sound Devices says/does, as this is certainly going to be something they'll have to take care of. FYI SD customer service is absolutely top notch! J

I have always loved the yamaha line, as Mr. Harber knows all too well, from using DM2000s on reality shows. I'm curious about USB3 though. I was always told to NEVER use USB for real time data like recording sound, because USB bogged down the processor while firewire had it's own processing built into it's card. Does USB 3 solve this problem, or was i misinformed about this?