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Everything posted by MatthewFreedAudio

  1. Ryan, I don't mean to sound too harsh here but you are in way over your head. I would highly advise production hires a more qualified sound mixer and retain you as the A2. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  2. I would have some very specific and choice words for that production. And they wouldn't even be remotely nice. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  3. Anyone have a good recommendation for a lawyer in California? I would like someone familiar with small business needs in addition to entertainment industry issues. Nothing bad or wrong, I'm simply starting a new company not related to sound mixing and I need to structure it properly from the get-go. PM me or respond here. Thanks! Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  4. This is how I look at it: My rate is $X for X hours, OT is 1.5X, etc. Gear is additional. It takes the same time and equipment to mix and record the audio if they inscribe it on stone tablets, print one million DVD's, or streaming video to 167 countries. Seeing as how we typically are being paid for services rendered what the producers do with the content is their business. Whose idea was it to have different rates depending on where the final product ends up? I pay the same price for a car if I'm using it for work or for personal use. The car maker doesn't care what I use it for the price stays the same. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  5. $550/day for you and all your gear is very low. You should raise your rate quite a lot from that just for them asking! Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  6. An apple box being called a "Grip to ground adapter" Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  7. Seriously? Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  8. In Abilene, TX? Is there an abundance of skilled sound mixers in that small west Texas town where that production can demand they work as a local? It's a 3 hour drive from Dallas. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  9. All my gear is analog right up until the A/D converter. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  10. You are well within your bounds to ask for a few moments of silence on set when setting up in a new location. The DP needs people to clear frame to do his/her job, the set dressing folks need the area clear of stuff that shouldn't be in the shot, the gaffer needs to place lights, etc. If you are in the frame when the DP and gaffer are lighting and getting their frame they tend to get cranky because you are preventing them from doing their job. Well, it's the same with all the noise. You can't do your job when everyone is making a loud ruckus. And it isn't as if you need absolute quite before every angle change, primarily just at the beginning of a new location or if something has changed on set. I.E. new generators placed, lights that may be humming and potentially causing an issue, or small herd of elephants wandering through set. If the AD refuses to get the set quiet for a few moments when you need it be sure to let them know that the first take will be your first time hearing what should, and shouldn't, be heard so that take may be scrapped and changes made prior to the second take.
  11. I'm taking an educated guess but I would say there are far more Lectro wireless floating around the marketplace than Zaxcom wireless. Lectrosonics has been around longer and has a larger chunk of the location sound wireless market. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  12. All of the recorders and mixers offered by Sound Devices and Zaxcom are great tools for our type of work. However, they each have different bells, whistles, works flow, and ergonomics. As the others said, it depends on what you need to satisfy your projects' needs. You could also look at Zaxcom's Fusion 10 or 12. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  13. I would suggest using an ERXTCD and feeding one track of audio for reference (mono mix of everything) and timecode. The RED One loses timecode every time the battery is swapped so always having timecode being fed to it is a huge time saver for production. Personally, I wouldn't bother with a 900S or QRX seeing as how it is simply a reference. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  14. I have thought about setting up similar systems to this. But then I thought about trying something much cheaper, more reliable, and easier: paying attention on set. The idea seems interesting but adds an unnecessary level of complexity, in my opinion. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com
  15. Check out Airbnb.com. There are a lot of excellent and very affordable places listed.
  16. I was viewing this post through Tapatalk and it didn't show a video was even there. I'll try it through my computer.
  17. Sounds like you made it work which, is a great thing! Kudos. The stick figure shows the extent of my drawing abilities.
  18. What do you mean when you say you can't take the plug from his mic because he will be using the actual PA so he can be heard over the mic? That makes no sense. Is he hard wired to the Peavy POS or is he wireless? If he is wireless then do as the other posters said and just take a feed directly from their base station wireless. If he is hard wired to the Peavy POS then you're forced to either take a feed from the Effects output or put a Y cable at the end of their XLR before it goes in to the Peavy. What do you mean when you say you can use the add-on shotgun mount for the camera? Are you saying that instead of feeding it a scratch track you will rely on the shotgun mic for reference? When he breaks off from the tripod (not if) will you still have to be tethered to the board or would that be for a different segment of the show and you don't need to worry about the board feed at that point? I still foresee a lot of tripping issues with the camera tethered to you and you tethered to the board. Or is this all happening on a very small space and you and the camera op may only be moving a foot or two? What wireless do you own or are bringing to this gig? Many of us are assuming, perhaps incorrectly, that you own at least a couple channels of decent wireless or are renting some for this gig. Is this the case or no? A lot of people get calls with a lot shorter notice for much more complex scenarios and they make it work because of their experience, skill, and equipment. Just sayin'.
  19. Does post have a good reason for needing linear timecode in addition to the timecode slate at the start of the file? The show I've been mixing for the past 11 months uses GoPros on a daily basis and we slate the top of the clip. We don't send audio or timecode to it (other than the slate) and there have been zero issues the entire show with syncing audio from the external recorder. It just sounds to me like production is trying to come up with a $10 solution to a $1 problem?
  20. Could sound quality deteriorate if your primary audio source is the board? YES! Depending on the board. Are they using a Midas console (excellent) or a Crate POS they picked up from a used music store? Your Zaxcom Nomad will sound better than a lot of mixers on the market and probably better than what they have in house, just a guess though. This is all basic, simple signal flow. The sound source is coming from the speaker (person, not loudspeaker) and you need to capture that audio as well as possible. As the Senator suggested your best bet is to get a matching receiver in your bag. Find out exactly what wireless system they are using and have production rent a receiver that can be put in your bag and tune in the mic they will be using. By doing this you will have all the level control you need and bypass their house system. A timecode slate is extremely useful in this situation, even more so than PluralEyes. You jam the slate, the camera shoots the slate to see its running numbers. You don't need to jam the camera, and as you know, you can't jam a 5D. Yes, it actually requires the camera op to do their job (how dare we expect that?!) and shoot the slate. If they don't shoot the slate that is their problem, not yours. This is basic, production 101 stuff. PluralEyes is a great tool but relying only on it is dangerous. Use of a timecode slate and PluralEyes will give the editor a couple options for syncing the audio. I would highly doubt having the camera hard wired to the FOH mixing board is a realistic option. I foresee a lot of tripping issues and will be dangerous. Not to mention the board may be prohibitively far away from where you will be shooting. As Bernie mentioned, keep it simple. Another thing you didn't mention, and perhaps you don't know yet, but how big Is the physical space you're in? If they have a decent sound board you could put a wireless on an Aux Out set for post gain/pre fade and that will give you a fairly consistent level, unless they do a lot of mixing using the gain instead of the fader. However, if their FOH board is an all in one thing like a Crate or other simple setup then you may or may not have that option. Do you have a variety of adapters to get the signal out of the board? It may be 1/4" or XLR. And hopefully it has line or mic levels out because if it is a really cheap POS and it is an all in one unit it may also be an amplified signal in which case you're really screwed.
  21. Senator, not only did you misinterpret most of what I wrote you also quoted me out of context. Nothing new from you, however.
  22. At the risk of telling you how to do something that you should know before accepting this job... If you don't have access to the board, how do you plan on getting audio from their microphone or the people speaking? Is their microphone wired or wireless? Depending on which they are using you have different options. The 5D is a POS camera, especially when it comes to audio which, you know, is only half of a production. You have to run double system as the above folks pointed out. And you have to charge for that gear. Because they are using a 5D it requires you to use an separate audio recorder and to charge for your mixer and recorder. If you aren't sure what to charge check out your friendly, neighborhood audio rental company and what they charge for a Nomad. Did I mention you need to charge for the recorder? And the wireless? Just making sure you know to charge for the mixer and recorder. Don't give it away. If you don't charge for it I'm going to invoice you the next time a producer tells me "gee, the last guy didn't charge us when we shot on a 5D and he provided a separate recorder." Syncing audio is part of their work flow if they choose to shoot on a 5D. You can make it easy and painless by using a timecode slate which, of course, you will charge for. If you are unsure of this, see above. You jam the slate from your recorder, the camera op shoots a few seconds of the rolling numbers (because you will be running TOD) and WHAM! The editor has all they need to sync the audio to the video. When the camera op fails to shoot the slate you smack them and make a note for the editor that they frequently didn't shoot the slate. Zaxcom even has a handy, dandy feature on the Nomad where the numbers flip around and a camera op can shoot your recorder as a slate. I'm sure you knew that. By the way, do you know what frame rate they'll be shooting at? Do they know what frame rate they'll be shooting at? Do they know what timecode is? Any audio you send to camera is a scratch track. Don't worry about sending two channels to camera. It's a scratch track. A mono channel is sufficient because you will be recording double system (and charging for it, right?). Can you speak with their FOH mixer prior to the event? Play nice with the other kids in the sandbox and I'm sure they'll give you access to everything you need. Have fun and don't let any of the dogs pee on your foot!
  23. There is an easy solution: everyone flys completely naked and without luggage. Does that seem reasonable to you? Do you have any other vague, factless, notions you care to share?
  24. What tools are you speaking of? Bombs? Grenades? Guns? Henchmans?
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