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MatthewFreedAudio

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Everything posted by MatthewFreedAudio

  1. The only thing I use the 2.4ghz range for is my Zaxnet system. Personally, I've never had an issue. Like other wireless systems I occasionally have to retune it in a new venue. But, yes. Overall there is a lot of usage in the 2.4 range.
  2. Sorel or Baffin boots are what I always wore in the cold Minnesota winters. Wool socks are a must.
  3. I'm sorry to hear about your experience with this producer. Next time he calls, feel free to give him my name. It's best to avoid these types of producers who want to change the rate after the fact.
  4. I'm not sure why some of you are asking the producers how they want the sound mix accomplished. That's your job. They aren't the sound experts, supposedly you/we are. A big part of our job is educating them on the audio needs, especially on reality shows. Keep in mind that ease of work flow goes a long way. So, you may very well have to provide a solid mix to camera. If there are too many cast/talent to adequately provide a good mix or if you have to boom and mix and run around then educate them on a cost effective way to still achieve the needed sound mix.
  5. The middle cart is one I put together using an upright Magliner cart. I'll post some detailed pictures on Monday when I'm back on set.
  6. An idea for a FreqFinder upgrade... I would love to be able to add multiple wireless in one shot. Under the "+" section have an option to add one channel or multiple. Similar to DAW software when you want to add new tracks you can add just one or select an option to add X number of channels. It could be taken a step further and automatically select good channels for that batch of wireless out of the list. Perhaps have those options be an in-app upgrade for a couple bucks. Some people will find it worthwhile while others only have a couple wireless to deal with at any given time so the multiple channel option may not be worth it to them.
  7. Ahhh! I see. What you are doing and saying makes more sense to me now.
  8. You can rename the files and make any metadata changes on the recorder during the day or do it via Wave Agent. It really does not take that long unless you are having to rename every skngle take. And if that is the case you might want to reevaluate your work flow. Are you renaming files due to naming errors or in order to name them "Scene32A_T1...." ? How many files a day are you finding errors between your file names and what's on the slate? You're making a lot more work for yourself by recording Poly files and then converting to mono at the end of the day. I'm trying to wrap my head around your work flow because it seems very cumbersome and adding unnecessary work.
  9. I agree that Poly files seem like they should be the standard, but each post facility or show has their own quirks. There are good arguments for both. However, renaming the poly files as a group can be done easily in Wave Agent prior to splitting in to mono files. However, you can still record mono files throughout the day and if you need to change metadata at the end of the day it can still be done easily as each take is grouped in Wave Agent and named en masse.
  10. Are you currently renaming files as you go during the day? Or are you renaming at the end of the day? Which recorder are you using? On SD recorders you can rename all the files of a take via the HDD menus. Zaxcom recorders use a sequential naming system. I don't know about other recorders.
  11. When files are imported in to Wave Agent it automatically groups the same take together and shows it as one line item. You can rename that one item and it will also rename all the corresponding files. So, you can still record Mono WAV files throughout the day and save yourself that step at night.
  12. Sorry <annoying sound of Senator's attitude> you missed the point of the OP's question. He was asking if there are overlapping frequencies between adjacent blocks that would make it possible to use, for example, a block 21 transmitter with a block 22 receiver. Does the upper range of block 21 coincide with the lower range of block 22? That's the question. Here is a link to Lectro's frequency tables: http://www.lectrosonics.com/component/option,com_fss/Itemid,59/kbartid,6/layout,article/view,kb/
  13. What the f#ck are you talking about? And why do you refer to yourself in the third person? Do you realize no one can take you seriously? Referring to myself in the first person, Matthew
  14. That is a lovely shadow in the picture! Probably one of the nicest internal upper ear shadows I've seen in a long time.
  15. And what did you teach this student at that opportunity for learning?
  16. After tax you're looking at nearly $10k per channel. Ouch!
  17. Malbec, dinner with my wife, and trips on trips around the country on the BMW motorcycle.
  18. Yes, you are and you should have passed on the gig. Because it is unscripted you have to use your best mixing chops. So long as its not a live broadcast just do your best and stress to production that they will yield a better mix in post because you have to leave adequate level up on all the mikes for the unscripted sections.
  19. Something the camera department should have known.
  20. You should be getting a full day pay for travel days. It's not like you can take another gig on those days. You should also charge what is right for gear. The worst they can do is rent from a rental house. Don't give away the farm. Let them know that the show requires XYZ gear and you can provide it (assuming your gear fits the show and you aren't trying to fit the show into your gear) and they can get the gear for X number of dollars. Charge what the rental house would charge for the gear that is needed for the show.
  21. Noah, They don't budget $750 per day for the sound because people like you will do the gig for $400 and provide every last piece of gear they ask for even if it means you are losing money on the job. You shouldn't set your time and gear rates based on what the camera person is charging. You will never be able to raise your rates once you have set them low. However, if you and your gear aren't worth top dollar then you shouldn't be charging top dollar. They are shooting with a 5D. That means you need 2 channels of mixer and recorder with timecode, boom, lav, boom pole, C-stand, sand bag, boom pole holder, XLR cables, gear bag, case, headphones, media to record on, battery system, expendable batteries, timecode slate and appropriate cables, microphone mounting for both boom and lavs. Your gear package to do an adequate job for one pompous ass on a couch costs far more than their camera, lens, kinos, and all their accessories. So, tell us again why the hell you think $400 is appropriate? Perhaps you're doing the gig purely for the experience and you aren't charging for time? Or do you simply not realize this is a business and you either need to raise your rates or call it a hobby or else you'll be washed out sooner rather than later.
  22. They are, more than likely, just throwing around those terms without knowing what the gear actually is or what it does. I've had many field coordinators, producers, camera ops, etc all look right at my Fusion 12 an call it a 788. They have also looked at a Wendt X5 and called it a 788. They have also put job postings online saying "we need a 5 channel mixer like a 788 with 8 wireless and a boom." Laugh all you want, I've seen experienced people put up that exact wording on job postings. The questions we should be asking is not how they want to accomplish the audio because that's our job. We ask questions that drill down to exactly what the shoot entails and we suggest gear packages that cover the bases. We ask for a script if there is one. We ask how many people will be on camera. We ask how many cameras. We ask about the work flow. If they don't have those answers then we keep asking others on the gig until we get the answers we need to get our jobs done. I never rely on anyone else to tell me what audio gear they need and how the audio will be mixed and recorded.
  23. I would take the grout gig but not before telling the person wanting a sound mixer and gear for $400 to go jump off the Brooklyn Bridge.
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