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Bartek

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Everything posted by Bartek

  1. Hello, I was just wondering how people are dealing with multiple shooting fromats on the same production with regards to digital audio recorders. In the DAT days you simply had a tape for film audio and a separate tape for video audio. I have the 744 as my primary recorder, and thus far i have been creating folders for each format, and delivering the audio on two separate DVD-Rs. This method however can be cumbersome and there is a lot of "homework" involved (splitting/ combining folders, etc.). Is there a simpler way of doing this. I would love to hear how other people are dealing with this. Bartek
  2. Wow, Very sorry to hear about this. I realize that the extent of your property loss is an extreme example, but i find that these happen frequently, be it on a lesser scale. I personally have had a Lectro 411 kit stolen and a good friend of mine had a good chunk of his package stolen in a very simmilar circumstances to you. After having this unplesent experiance i did the ussual call up all dealers and manufacturers and let them know the situation. What i found that only some of them actually have a database of stolen equipment, none of them actually share this with their peers in the industry. There has to be a way that we can orgenize a STOLEN EQUIPMENT database that would be available for all in the industry, and would connect all of the gear manufacturers and servicing centers, be it only in a very simple way such as an email per month to these companies, updating them wilth srial numbers of stolen equipment. Relying on the police department to recover the stolen property is equivalent to giving up. One thaught I have is that we can start a category on this site, with Jeff's blessing of corse, where members can post stolen equipment and an automated email could go out to the approprieate parties with any updates. I would love to hear from others about their ideas on how to tackle this problem, concerns, solutions,etc. I think that we have try to do something about this problem we cant expect anyone else to do it for us, it doesint have to be a project of monumental proportions, but it does have to start somehow. Bartek
  3. Hello I do prefer to use gloves, but as with everything else they not a perfect solution for boom handeling noise. You simply have to adopt your habbits to a new tool, but i do feel that they improve my performance. I prefer to use all leather rock clibbing gloves (full fingers) available in sporting stores such as REI. they cost about $20 and lost a Very long time, unlike the gloves the grips ussually use that get worn out after 2 shows or so. My last pair lasted for +/- 2 years before it vanished. The disadvantige is slight discoumfort due to sweating, if gloves are worn for long time. Bartek
  4. here it is. sorry INVOICETMPLT.pdf
  5. I use excel. Set up a form to your liking, customise it and there you go. No legal mumbo-jumbo here. That is what a crew deal memo is for. Please see attached PDF. Bartek
  6. Hi there, Thank you all for your replies. What I ended up doing was CARTETING the roof. I found a kind of carpet that had both a sufficient length fibers and a 1/8" layer of non absorptive foam at the base. The whole operation with some help took about 2,5 hrs. We had 12' rools of 40' in length. That was the hard part, getting it up there i mean. A single roll covered a 12' length of the roof end to end. We used #3 pony clamps to fasten the carpet to the edges of the roof as well as shotbags. A length of carpet was also dedicated for roof drain spill. The results were great. Despite the fact that rain came soon after installation, it was completley inaudiable inside. Considering that we shot for about two more weeks at that location and it rained 40% of the time, the cost of the materials used was treated by the producers as expendables, a cheap insurance poloicy with no papaerwork Now if only I found a way to get rid of the trains going by. Bartek
  7. Hello, I own a long psc shockmount and do not like it one bit. Can anyone tell me what options I have with regards to long shotgun microphones? Thank you, Bartek
  8. Hi There, In video situations I ussualy pull TC from the camera to feed my 744 in external TC mode/ rec run. At the moment I use a breakaway cable + a BNC for TC. I would like to simplify this to a single cable, however I am weary of TC bleed into my audio signal. I would like to avoid a lockit box solution in a single camera setup ($$$). Does anyone know if there is a particular cable make/ configuration that can handle TC and audio without bleed? I would like to be able to run at least 100'. Bartek
  9. Hi there. I am about to undertake a indie action feature film. The script calls for intense gunfire scenes, were talking most of the second half of the script, with a wide veriety of wapons (handguns, rifles, shotguns, etc.) The director is also determined to use full loads for asthetic reasons. I've dealt with gunfire in the past, but never on this scale. A dynamic mic such as the RE 50 or a Sennheiser 825s would do the trick, and I made sure that whenever possible dialog was separated from live fire, or in a worst case scenario wild lines were done. What is the big budget approach to the above problem. And what are the expectations. I considered getting inexpensive mics such the Rode nt-1 for the exteriors and an Octava to simulate my Schoeps indors, but I'm not too sure now, will they take the beating? Any comments would be greatly appreciated. Bartek
  10. I own 4 UCR 411A's 2 blk 22 and 2 blk 24. Whenever I scan the frequencies, I noticed that the the recievers within any of my blocks show a different pattern, or same pattern but different interferance strength. Am I mistaken in assuming that both recievers within the block should show identical data? All the settings are the same. What is going on here? Bartek
  11. My name is Bartek. Once upon a time I was destined to be a musician, however upon discovering that talent was in short supply, I decided to study Audio Engineering. After a brief romance with the recording industry I found myself working on film sets and loving every monent of it. I prefer feature work, love the challange! I work mostly on Indie features, Don't have IA membership... yet. Compared to most of you guys I am a rookie. 24 features. My biggest fear comming out of college was not having a Studio System to further my knowledge. I find this forum to be a fantastic place to echange ideas and pick up chops from the masters. Thank you everyone, Bartek
  12. Bartek

    Pay rates

    Peter, Negotiating for departament abudget is an artform in itself. I found that it helps to break things down, and submit a budget to the producer that fits the film. You will gain the upper hand if you can show the producer what he or she is paying for. Find out what the other departaments are up to, if camera rental is $30K and they are offering you $2000 for a month things are not right. In addition to your wage, you must also consider certain other costs that come with the territory such as: Equipment, different scripts have diffrent gear requirements. Wireless are expensive, plan carefully! Expendables, dont ever try to cover these costs yourself, figure out what you will need and put it in your budget. Other wages, Boom Ops, Cable, Playback, etc. By doing this you show the producers that you are an organized professional and someone who is a natural choice for a dept head. Dont go the cheap route, aim high and NEGOTIATE. You should also have a cut off point, a magic number that represents the lowest rate you are willing to accept. Good Luck Bartek
  13. In the low budget world you as a mixer are in a position to contribute greatly to the production. If you can nail a good mono mix you can speed up the post process a great deal, keep the editor happy (future jobs!), and ensure that some intern is not put in charge of mixing of your tracks. If you are diligent with track assingment you can provide a great mono mix that meets your personal over ambitious standards and protect yourself if things go wrong, I've alvays treated the additional tracks as back up! On sound devices 744T and 442 combination I pan all wireless left, boom / hardwired mics in the center. Track 1 Mono Mix Track 2 Boom / Hard-Wire Post Fader Track 3 Iso Pre Fader Track 4 Iso Pre Fader Of course this is not written in stone and being flexible and able to adjust routing on the fly is a part of the game. Planning ahead is the key. Bartek
  14. Hello, I'm working on a small indie feature and in about a week we will move production (for the next 2 weeks) into a makeshift studio. The problem is that the space has a thin metal roof, and rain is on the way. I calculated that to apply 2 inch hogs hair to cover the 3400 square feet required is a cost the production simply can't handle. Does anyone have any suggestions? Any alternative materials I can use? Bartek.
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