geordi

Hey Crew, They are PDF (at least the ones I have saved all have been) I'm just going by one of the reviewers saying they had to be a certain format - I took that to mean how they were laid out on the paper / screen, not format of file. I'll drop him a message. Thanks, and happy 4th to you too!

According to the proposed usage chart I saw from Tmobile a while back, there're planning a "guard band" of open space between the massive band spaces for the uplinks and down links. It is possible, however remote, that this guard band will be right within the B28 or B27 spaces. We won't know for certain until they actually do start broadcasting, but that "illegal" space could end up being the only open airspace for hundreds of MHz down the dial.

Hey Crew, tell Andrew he will have another sale! Any chance of direct manual input? I don't know what format my call sheets are in, so I'm concerned that a lot of my reality sheets won't input properly.

I also get the feeling that the number of mixers who will dump their expensive-yet-newly-low-value gear will be a dwindling number. How many times will the FCC smugly order everyone: This is now illegal. To solve this problem with the legality of your gear, just buy more. The FCC will not provide financial assistance to you. This gear isn't cheap, and the FCC obviously only cares about the gagging bags of money that Big Phone will pay them for the frequencies. I wouldn't be surprised about an increasing percentage of wireless microphone users that will just decide to take their chances and keep the gear that they were just FORCED to buy.

Where do you get the idea that they will stop with just block 26? That document Dan posted mentioned 'how much spectrum above channel 37 should be paired' which means they haven't decided yet how much they will want to use for the downlink side of a bi-directional communication system. The plan seems to be to use the 600mHz band for the downlinks, have a 'guard band' somewhere around block 27, then have the uplinks from the phones or whatever new devices utilizing blocks 28 and 29. There was a graphic that someone posted showing T-mobile's proposed usage of the bandwidth just in the 700s... It was scary. My read on this, and the comments that were listed in the footnotes... Say goodbye to blocks 26, 25, and probably 24.

Dude - chill. They aren't wideband spamming the range, that is just the possible ranges of the bandwidth for the devices. The individual devices (for example a wireless internet portal) will be able to tune dynamically through that band to get a clear channel for itself. It probably only wants about 6mHz or less of clear space. Good luck however! The real question is - will the devices ACTUALLY use a database, or will it become (as I have heard some scary noises about) that EVERYTHING will just be part 15 and we can kiss our air goodbye, should the scanning-and-database deal not work. We really should plan on everything becoming part 15, as that is the worst case scenario and at the same time, the manufacturers have enough money to buy science that will allow them to whine to the FCC that this database system is 'not technically possible' so they shouldn't need to do it at all. What I'm curious about - 4 watts? Thats it? Even on a 30 meter antenna, the radiated power of a Lectrosonics will be able to shout over that at <150 foot range to the receiver. Unless you are standing right next to the transmitter tower, we may not be as bad off as we thought if the actual production TX power levels are so low. Think about it - many of the mainline TV licenses are for 15 kW and more, and that is considered "low power" for a TV station! I hope the power levels stay that low!

Corollary to that was a set I was on - Also all green screen, and my boom op had to endure the complaints about being in the shot from the DP, while the VFX guy who was on set the whole time was informing anyone with ears that he could just paint it out later, as long as he didn't cross between an actor and the camera. He even said repeatedly - get the best sound possible, and HE would take care of it in post. Lovely man. The DP continued complaining every time the boom was (massively) in shot... Come to find out that the fool was planning to use the greenscreen footage RAW for his reel. Yeah, I didn't understand it either, and it made me want to slap him silly for causing such a stink on the set. He was just barely out of school (so was I at the time) but he already had the fully-formed ego.

Eric, I wasn't looking at the total budget per day, my '50%' comment refers to the actual produced footage. The old addage I've heard was that picture is 50% of the experience of the program (to the viewer / audience) and sound is the other 50%. As such, the DP has a lot more cash coming for the same responsibility we have as mixers. Yes, all the other departments are important too, in their own ways. Looking at the percentages in your way, against the total daily budget... What would you suggest a reasonable split should be?

So the DP is worth 50% of the finished product, and the sound is less than 25% of the other half? Hmm... No.

Terrible. I would rather sleep in my car (and have done so) when I feel too tired to drive on. If I'm on a gig that runs longer than it should and I have a long commute... I'd rather show up the next day unshowered and stand close to the producer that caused it all day... Somehow, I think that next day would be a lot shorter! Thankfully, I haven't had to do that, b/c any of my non-local multi-day gigs have all come with a hotel. If I'm doing a one-off several hours from home, I'll just take it easy and rest before leaving to drive home. No gig is worth your life, this isn't brain surgery.

Corporate gig contracts through the stagehand branch of IATSE (So the contracting should have parity in this respect) have the short turnaround as follows (Paraphrased into the rates, because I don't remember how it is written, but I have been paid this way): Day 1: straight time for 8 hours, with either 30 min client-provided-meal break and stay on the clock, or walk away for full hour. At 8 hours from start (or 9 if walking lunch) repeat meal option, and switch to rate times 1.5 At 12 hours from start, (or 14 if both meals walking) switch to double time. Hopefully your day is over by now! Minimum 10 hour turnaround. If less than 10 hours from wrap to callback, return on SAME RATE LEVEL as you left. (This happened to me, I came back 8 hours after wrap from 14 hour day) - Returned at double time. The contract SHOULD be that the rate would then be double times 1.5 after 8 hours... Now comes the problem. I wasn't paid double for just 2 hours (so for the turnaround time I missed) or for the full day - On that job, I was paid double until the first meal. WTF? The problem was, this was the client (PSAV, the rental company that has PLENTY of money and knows better!) whining to our local BA, and the dumbass believing him and "negotiating to keep the client happy" instead of enforcing the contract that THEY SIGNED. PSAV's client? The medical industry, and a bunch of brain surgeons' industry group. Sometimes, you don't only get screwed by the producer / client in your relationships. Sometimes your own union reps do it too.

Well, I certainly don't need to maintain a huge collection of carpets to throw over the wireless signals. Maybe there is a balance in the costs there? Cables are cheap... Until you factor in hundreds of feet of carpeting for each one, gaffer tape for the carpets, replacements and repairs when they get cut in a door... These things are getting expensive!

United we stand, divided, we BEG. Learn this well.

True... But I've never had to coil up a wireless at the end of the gig or had some clueless PA trip over the thing and fall into a set.

To answer the question: No, there isn't anything legally that exists to protect you from long days and short turnarounds. That is what the unions are for. If this is reality, then you most likely don't have the option of Actors Equity people on set, which is sad, b/c my experiences are that Equity is firm as a brick wall about the 12/12. IATSE, unfortunately... Has become the producer's best friend, because they are so desperate to get SOMETHING coming in, that they are willing to give away everything that they should be fighting to protect for their members. Once these things are given away, they will NEVER come back. At least, not without a massive fight that the IA is proving they don't have the stomach for anymore. Your only option is to quietly ask the DP for his thoughts about this, and see if you can get consensus. Without that... If you go to the producer and ask that they push the call or reduce the days to something manageable... They will just replace you. Why? Because you have nothing in writing. Deal memos (even just a quick email) are the only thin line of protection you might have. The ultimate weapon you have is simply not putting yourself at risk, and saying no.

John, you ARE a smartass, aren't you? Brilliant. The Senator hasn't chimed in yet, because he was busy in Atlanta today at the event where Gotham Sound was trying to get everyone pickled on free drinks if we asked intelligent questions. See what a fun day y'all missed? :D I'm sure his answers would be technically accurate and simultaneously... Completely useless. "Contact the manufacturer, RTFM, and It Depends." Meanwhile, a more helpful suggestion might be along the lines of what Peter Kautzsch asked you above: Which do you feel that your workflow needs more at this time? If you aren't recording the sound yourself (it is going to camera) then a wireless hop seems to be the answer. If you are keeping the sound to yourself in the bag... Then get a better recorder. When I purchase my gear, (sometimes before I actually had a gig for it) I buy things that will make my workflow on set easier for ME, which allows me to focus more on capturing the best sound possible in the horrid conditions that the producers give me. Does every purchase get paid back in rental? Of course not. I don't get a DIME for the battery distribution system I have set up... But I am expected to have something, and this system makes my life easier, which is why I got it. So the big question again seems to be, where do you want to go next? What kind of jobs have you had, and what do you hope to have in the future?

What he said, and that goes triple from me! Thanks for a great day, well worth the drive time!

I think I see where I missed the "and" in his post, that you caught Steven. *facepalm* Well, I feel like an idiot for today. Thanks for catching that. Doh!

To add to that, comparing wireless systems against mixers, is about the same as looking to compare oranges and helicopters. There aren't any overlapping features other than you can buy them and they eat power. Now if you want to compare Lectrosonics wireless against Zaxcom or Sennheiser or Audio-Technica wireless... Now you have a discussion, because they do the same basic job and have similar feature sets. To (sort of) address your question - At the top of the quality food chain, there are a few players that far exceed all others in what they offer for quality in each feature, so it really does come down to how the workflow of each device fits with your personal workflow. Me personally, I come from a more analog mixing background, and I prefer Sound Devices gear over Zax for mixing. I also tend to prefer Lectro for wireless... However I don't own any Zax wireless, and after talking with Glenn at NAB, I can see a possible future with some of their items for specific purposes that will fit with my current workflow. Maybe I will find a Lectro item that will do the same, maybe not. Believe it or not, cost is probably the last thing I look at, because like Philip said - the prices really aren't too far apart at that level for the main players.

EQ? My Sound Devices stuff might as well not have that, I'm not going to touch it. I will say that Eric's suggestion is an interesting one, and I'm certainly willing to consider other techniques and ideas... I just really hate the idea of locking post into anything. All my gear has been chosen to be as flat as possible, unlike the music microphones I have which have some color to them. The post work I've done where people have come in with 160hz high pass filters and then wonder why it sounds like ass in the mix... *facepalm* I don't want to do that to anyone. Unless there is a massive rumble or something else borking my metering, I don't even like putting in the low cut at all, even at 80. Leave it alone and get the full sound, that is my motto.

Active jamming devices are one thing, pirate radio (actual FM 88-108 band) in South Florida is another thing entirely. The FCC has a much larger problem in South Florida with the usage of medium power gear to broadcast mostly Caribbean-friendly radio stations illegally. Why does the FCC have a large problem with this, versus a handful of sound operators with B27+ gear? Because Clearchannel Radio has WAY more money than a tiny sound mixer or even a pirate radio operator, and TELLS the FCC that they have a problem to deal with. I have to agree with John Blankenship about Jay's claims. This "FCC agents are scanning the internet for illegal sales" is a great sounding fear tactic and internet rumor. There are still PLENTY of sales on Ebay and elsewhere happening, many of the Ebay listings I have seen are renewed if the seller doesn't get the price he wants. Obviously (as some of these have been up for many months) the FCC isn't working that terribly hard to stop these sales. Some proof of this claim needs to be provided. I'd think if it was true, the FCC themselves would be holding press conferences to announce the effort. One press conference can scare a lot more people (thus saving the money of ACTUALLY going and doing enforcement) than a few isolated instances of a C&D letter to an internet seller. FYI: The FCC's purview is devices that are actively transmitting. I don't believe (but I could be wrong) that they have the ability to declare even possession of a device as illegal, but they have to have the actual force of a law behind them for that to work. Until I put a battery into a transmitter, it is nothing more than a paperweight.

Eric... Lol, and groan too! This is really sounding like a fun day. Are we all set with PA gear? I know we are probably awash in gear, but if loudspeakers are needed, I have some LOUD powered Behringers I could bring.

Matt probably has the right idea - my 702T worked great with both my home-brew BDS, as well as with a more typical setup powered by the dual L-type batteries in my Hawk Woods sled.

I'm actually in Florida already for a while - PM sent.

Time to pull out the old iphone decibel meter and have a scan. I can definitely believe that 100dB is possible if you are surrounded by the little monsters.