MatthewFreedAudio

"The Canyons is a story of sex and ambition among 20-somethings in Los Angeles, and was written by Less Than Zero author Bret Easton Ellis." She knew what she signed up for ahead of time and she, I'm sure, is being paid extra for the topless scene. I wonder if the crew was compensated additionally for her stupid request? Read more: http://www.belfasttelegraph.co.uk/entertainment/news/lohans-unusual-sex-scene-request-16192353.html#ixzz22yBNVmf2 Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

I like to remind the DP that I would be quicker also if I had 4 people doing my job for me like they do. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

*******THE GIG IS FINISHED******* I did a low budget gig for a group called The Porchlight Sessions last fall in L.A. and they are doing another shoot in the Bay area early next week I believe. Low budget but it was a very short and fun gig. I was there a total of 4 hours. Recording a 4 piece bluegrass group with a few cameras, typically DSLR. Contact Anna at anna@porchlightsessions.com When I did the gig I definitely went overboard on what I provided but, like I said, it was a lot of fun and the people are great. PM me if you would like more info in what I did for the gig. I don't know the rate or shooting detail but Anna can provide those for you. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

www.Zaxcom.com/contact Let us know what you find out. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

Ditto. My clients pay for and expect professional gear that works properly. When they are paying for a timecode slate I don't pull out my iPad, I get the Denecke TS-3 that is stable, proven, can be read by the camera in low light or bright light and can withstand an AC abusing it. I'll save the iPad for browsing JW Sound on down time. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

What are you hoping a Zaxcom iPad app would do?Currently, the Zaxnet options are pretty robust. I typically use ERXTCD on each camera and each timecode slate. They all slave off my IFB100 that is connected to my Fusion. I also use a few as director/producer/scripty monitors. I've also used a single ERXTCD to deliver timecode and scratch audio to camera via a 1/8" to XLR/BNC cable.Personally, I would rather not introduce an iPad into that mix because the iPad has far too many downsides to be reliable on set. No interchangeable batteries, the screen refresh rate is too slow making the frame numbers blur, and the processing time from input to display is not fast enough (yet). Not to mention they break easily.Production Sound Mixing for Television, Films, and Commercials.www.matthewfreed.com

I put together this small, upright Magliner to work from for the last 6 months on a show. It was worth every penny (and wasn't even too expensive)! Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

Today my wife and I are taking our motorcycle up Pikes Peak in Colorado as part of our two week vacation in the mountains. We haven't taken a vacation in quite a while so it is a welcome change! After this trip I start season 2 of the show I've been mixing since February. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

What phone and cell provider do you use? Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

I like the idea of photos, serial numbers, and the seller's real name being in the post. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

You aren't charging enough. Plain and simple. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

Right at this moment I'm at a race track with a drift car whipping around a 2 mile course. Three 900LT transmitters on cast and one 900LTH sitting inside the car with the lav run out the window and down by the screeching tire for the effects. Only possible with the recording and timecode functions on the Zaxcom system! Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

I am on a very similar show, Rado. So, I know how you feel! Driving shots with sports cars, motorcycles, custom classics, and about every other type of car possible. The ONLY way we have been able to capture dialogue has been because of the Zaxcom 900LT and LTH transmitters. Like you said, bouncing from OTF's to scene work and lord knows what else is all possible. Not to mention, I do notice a higher sound quality. I'm about to order another couple transmitters and a dual receiver. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

How much gear? If you are doing an all-in gig with a mixer, recorder, multiple wireless, boom, camera hops, and IFB for that rate you're only shooting yourself in the foot...and all the other sound mixers out there. Production Sound Mixing for Television, Films, and Commercials. www.matthewfreed.com

<p> I highly agree with Robert. Live sound is very different than production sound mixing. I cut my teeth on live sound and the tools and skills involved have a lot of similarities but also a lot of differences from production sound. Just because you have done one doesn't mean you're qualified to do the other. 8 omni lavs run through a board to a PA system is quite easy...with the right tools and experience. Without those you and the audience are in for a world of hurt.

Good to hear you got to the bottom of it. Kind of funny when it's a relief that it is broken hardware and not user error. I hope the shoot tomorrow goes well. Sent from my SPH-L710 using Tapatalk 2

Ok, to be a bit more kind. Is the mic plugged it to channels 1 or 2 on the 744t? Channels 3 and 4 are line level only and perhaps you plugged in your mic via an XLR to TA3 cable? Is the proper channel engaged? Is the headphone volume turned up sufficiently? Is the input routed correctly? Did you turn up the gain and are seeing level on your meters? Is the 744t powered on? Phantom power? T-power? Is the mic definitely in proper working order?

Which direction was the directional mic pointing? Also, go in to the hidden sub-menu on the mic itself and make sure the CR Level is turned up. After that, call the people you will be working with on Monday and have a heart to heart about your experience and knowledge regarding mixing and recording sound for picture.

Football refs frequently wear Lectro transmitters to broadcast the calls. I just saw Batman today and also noticed the transmitter. It all made sense to me. I didn't notice the cable running down Bain's neck. I would imagine 100% of his dialogue was rerecorded in post, but perhaps not.

I currently have a Fusion 12 which, I love. However, I am looking at getting a Nomad 6 in addition to the Fusion. They each have great advantages and differences so which unit you get will somewhat depend on the type of work you do. If the vast majority of your work is bag work with 3-4 wireless plus a boom in close proximity to camera and production then a Nomad is the way to go. If you do some cart work and some bag work or need more analog inputs and already have an IFB setup then the Fusion may be good for you. I like the touch screen on the Fusion but I also like how Zaxcom setup the rotary selection knob and the screen on the Nomad. The Nomad runs cooler than the Fusion. The buttons on each have a different feel (if that matters to you). Both are great machines that are extremely robust and powerful.

Sorry about that. I was thinking of the Z7U for some reason. It's been a while since I've worked with the EX3.

The EX3 camera uses the same battery type as the 7 series recorders. I'm not familiar with the BPU designation, only the L-Series designation.

Keep after them for the full amount if days you were booked. Do you have emails from them you are being hired for X number of days at X dollars per day? If so, remind them of that. The bigger thing, however, is that you should not have taken the gig in the first place. Productions need to always pay for hotel, travel expenses, a fair day rate plus gear. By taking the gig you let them know they can get someone for a pathetic rate and not pay the basics that they should be paying. I would guess they were turned down by more experienced mixers because of the rate and circumstances. But, the producers just keep calling until they find someone who will take the gig. A lot of production companies want people to work as a local in the most ridiculous and remote places. It saves them a lot of money...but costs you all the same.

They know exactly what the rate is: $400 for a 12 hour day all in. Why? Because someone can't say no in order to not screw over themself and everyone else. You know what happens when people turn down the $400/day all in gigs? The rate increases because the folks doing the hiring learn that you can't hire someone with all their gear for a low rate.

$525/12 with $300 for gear. It has to be dual system. So, the sound mixer is providing wireless, a boom, a mixer, and a recorder. Not to mention the other pieces of gear that should be used like a timecode slate and scratch audio feed for the camera.