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Wandering Ear

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Everything posted by Wandering Ear

  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.
  15. I was 13 or 14 and kind of an audio nerd. At that time it was building custom speakers and I was obsessed with seeing how much bass I could get out of everything. Ironically I've always been very sensitive to loud noise, but also love the energy from loud music. Excessive bass was the way I could get both and not destroy my hearing, or give myself headaches which I get when it's too loud for too long. My dad was a piano tuner, so he also made a living with his ears. He taught me how to take care of them at a pretty early age, and I'm really glad he did. Funny enough, he accidentally taught me how to critically listen too. I couldn't sit still during one of my brothers orchestra performances, and in an effort to get me to shut up and sit still he told me to listen for only what my brother was playing on the Basoon, and not say anything until I could only hear my brother. It took me the rest of the concert to find the basoon in an 80 piece orchestra. Not only did it get me to sit still, it taught me the most fundamental skill of my career today. That story really isn't relevant to this discussion, guess I'm just rambling as I wind down after wrapping the first week of a new show. Crazy about the rats. Now I want to get some rat recordings and pitch them down into the human hearing range just to see what it sounds like!! I too would rather be blind than deaf.
  16. I'm guessing that audiologist was referring to the highest possible "root note" of the human voice. As has been mentioned, there are quite a lot of harmonics well above that. Sibilance can have a lot of energy above 6.5k. The last time I went to an audiologist I got into a debate when they told me no one can ever hear above 20K ever. They couldn't fathom the idea that 20Hz - 20Khz is a rounded average of the human hearing spectrum and not some magical physical hard cut off. When I was a teenager I tested my hearing with precise equipment and was able to discern frequencies just over 23K. Doubt I can do that anymore I would also argue that we probably can't really "hear" 20Hz, although we can experience it. I know I can't discern a "tone" that low.
  17. You could find an excuse in a conversation to try and find out what kind of food / drink they like? Or hobby's? Might help figure out a more personal gift.
  18. While I don’t think it’s what the OP is looking for, the URX ability to tune into and audition talent mics without having to go through the cart is huge for me. It’s a unit/functionality i wanted for years before the URX came out and has changed the way me and my team work for the better.
  19. Very steep filters often (not always) have a small boost just above the rolloff frequency, but multiple shallow filters can combine to achieve the same reduction as a steep filter without that boost (aka a flatter frequency reaponse). Not as relevant to this discussion per se since no mic or transmitter i’ve seen has such steep filters, but in some cases it can matter.
  20. It is a bummer if they’ve stopped selling those. It’s been my favorite configuration. you could easily 3D print the part if thats a route you want to go. I’d be happy to send you measurements or maybe a 3d scan if you want to go that route.
  21. I think you misunderstand how the ambient solution works. There are no additional xlrs, just the internal cable exiting and terminated in an xlr that the plug on plugs into. I’ve used this system for about a decade, except without the extension piece on the back end of the pole. I also upgraded to a neutrik HD waterproof connector after raining out a standard one.
  22. This looks pretty cool!
  23. I've heard from a coordinator at one of our stadiums that they end up chasing down a lot of crews using wireless outside of the stadium, but within range enough to be picked up. While that's an avoidable situation, it highlights how one could easily not realize they are shooting in an area where someone's paying attention.
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