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Wandering Ear

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About Wandering Ear

  • Birthday January 1

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    Sound, Bikes, Beer.
  • About
    I am a production/post sound mixer. My work covers a wide range including television, movies, and commercials.
  • Interested in Sound for Picture

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  1. I regularly do a corporate web series where most of our scenes are 7-12 pages and 5-10 people. Because of the content they are talking about, despite being a scripted narrative, the dialog has to be pretty much exact. We always end up with teleprompters standing by for the actors that can’t keep up for their close ups. Not sure if these are my longest, but my taped sides often end up 3 lanes wide otherwise they’d drag on the floor
  2. Currently I am charging $800/10 on payroll ($850/10 on Invoice) plus a basic kit at $350. I also do a "commercial kit" for $500 which has a pretty loose definition including what most small to mid commercials need, not including comteks. I charge $15/ea for comteks as ordered on all my packages. This puts my labor slightly ahead of the going "Key" rate here so I can be a bit flexible depending on the production / producer. Being a relationship based business I'd rather maintain my relationships and work regularly than argue over $50 or $100 in a day. I am fortunate enough to be very busy though, so I don't discount very often. I have found that G&E here has always been good about talking with each other and setting a going rate that they stick to. Following their rate raises has been a lot easier for me than raising my rates on my own. If I raise my rates at the same time as G&E it seems easier for the line producers to modify their expected budget across the board instead of by individual department. I think there is some merit to talking about rates with all the departments, not just sound. I also live in a small market, so that may not apply in NY or LA nearly as much. As for travel, parking always must be provided or paid. I charge mileage & travel expenses generally outside the "zone". Ferry rides, tolls etc I bill for if the travel is outside 30 miles, but I don't bill for tolls when I use the local toll routes.
  3. Recording forest ambiences for a show I just wrapped that shot mostly in the woods. It was a dream to combine two of my favorite activities (Backpacking & Sound Recording) and get paid to do it!
  4. I personally really like the Nuetrik video bnc’s. They are pretty low profile, and the rear twist makes it really easy to remove when the loop out monitor connections are packed in tight like on the teradek’s and 7” small hd’s
  5. I love that you didn’t just say “yes it works” but posted the measurements and details. Fantastic.
  6. +1 for the Cinela Cosi. Nothing else comes close.
  7. You make a good point. I was likely not receiving a strong signal in the small gap between the two filters. I do have a uhf transmitter on my antenna mast that feeds my boom ifb, but i know that’s not the source of my issue since it persisted with it off and i run it about 25 Mhz below the bottom end of my filters.
  8. I believe the micplexer filter is 5 or 10Mhz narrower. I’m not 100% sure the filter was my issue, the behavior of the system acted just like when you overload a receiver and attenuation was the solution. I’m also in a fairly mild rf environment at the moment with not much broadcasting except the local tv stations so it took me a minute to figure out why i was getting poor performance.
  9. In my current setup I’m using Wisycom active antennas which have a bandpass filter and amplification/ attenuation built in. Those feed into a micplexer which also has a filter and amplifier with fixed gain.
  10. Thank you for this insight. I never realized rf filters were reflective, but this is very good to keep in mind. My current setup indeed runs filter & amp at the antenna, then again at the distro on my cart and recently I struggled with some overloading that i didn’t understand even though my antenna amp was set to 2db below my cable loss. Additional attenuation ended up being my solution. This explanation fits exactly to what i was experiencing.
  11. Wow! That rat audio is gorgeous! I really love how the reverb sounds too. Gives it a really musical feel.
  12. Ok cool. I’ll try to throw together a proof of concept this weekend and see how it works.
  13. The arm car is likely to stay fairly close to the picture car. Maybe you can trigger playback from there if necessary? Many times i have been in follow vans where I’m promised we’llbe close and stay in range, just to find on the day we end up out of range of a Comtek bst75 mounted up high in the car, or just pulled over and parked as they free drive back and forth coming in and out of range. +1 to keeping the earwig tx in the car. Earwig reception is finicky enough as it is. this gives me another idea that i might build and test one of these days. I could easily build a website where you load the playback file and then have the site open on a phone in your car, and also open on your phone in the van and can control the playback from your van phone. It would require at least some cell service, but would require much less data than streaming the audio since it would only need to send/receive transport controls and would not have audio dropouts when the service gets poor. If this is something anyone is interested in, let me know and I’ll build a quick proof of concept.
  14. That must’ve been an incredible shoot!! How funny to all of a sudden be surrounded by Vice. I did a feature shot in an abandoned nuclear missle silo. I imagine it felt pretty similar, although we had no rats. How was it shooting down there? Was the train noise constant? Are there ventilation fans? Or was it pretty quiet? Thanks for sharing the podcast. I’m going to start listening to that on my drive to and from set.
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