Jump to content

JonG

Members
  • Content Count

    1,336
  • Joined

  • Last visited

  • Days Won

    9

About JonG

  • Rank
    Hero Member
  • Birthday 02/23/1982

Contact Methods

  • Website URL
    http://SoundDept.org

Profile Information

  • Location
    Sacramento, Ca
  • Interested in Sound for Picture
    Yes
  • About
    Sound Mixer. Features, Docs, Commercials, Corporate, Reality, whatever.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Thanks Larry. That’s what I figured. I think that in the case of the PSC SixPack dual band, it covers 470-23 ANA 941, but not the entire spectrum in between. I guess that since at this point in time, I’m not using 941, and my antennae filter out frequencies that high anyway, it doesn’t matter one way or the other. But if I did decide to go the route of 941, then this same device could be used for it. But I probably shouldn’t attempt using both bands at the same time. So thats it then. If you want to make use of 941, then you are talking about a new system entirely, complete with not just Tx and Rx, but also antennae and whatever other supporting equipment may be needed. Good to know!
  2. I have a similar question that maybe one of our revered friends at PSC or Lectro could help us with. I just got one of Ron’s dual band SixPacks, and if I were to use SRs in say blocks 19, 20, and 941, what would my antenna situation look like? I understand that, just using whips on the distro, it is best to use a middle frequency, but that would make sense if I were using three adjacent blocks such as 19, 20, 21. In this scenario, we are talking about blocks a world apart. What would be the best thing to do?
  3. I think @Philip Perkins and @David Waelder are correct in stating the most obvious, that established reliable gear that sounds good is the best place to start. Is Schoeps more susceptible to humidity? Maybe. But anyone can tell you that the more fancy the mic, the more delicate it is. I’ve done movies with nothing but a 416, watched it in theatres, and thought “yeah that sounds like a motion picture!”. I’ve also gone to movies with heavy lav use and noticed nothing but the pitfalls of relying on them. The point is that in my my honest opinion, anybody going into the field without a 416 may in fact be a fool. They have saved my socks a number of times. Do I reach for a 416 on every occasion? No. I like Schoeps better. But there was a time when I was perfectly content with a properly yielded 416, and had no aspirations to buy another mic (sauf a second 416)! These days I have many many many mics. They are my paintbrushes. But regardless of what I choose for the days project, the 416 always remains in my kit. It actually sees a lot of action, since a lot of the ENG work I do doesn’t merit the cmit, and I’d rather bring out something bullet proof than something I have to worry about. I’d also like to point out that regardless of what you use, Post is going to EQ it all to sound similar, so this argument is mostly for our own taste in things. But reliability is going to do more for someone just starting out than fancy gear.
  4. I don’t ever go out on a job without the 416. Even if I don’t use it, I know that I can get the job done if all else fails.
  5. @Constantin you are probably thinking of the affects of an air conditioner, which often also work as dehumidifiers. Side note, I was on a gig where we were shooting in a house, but the owners didn’t want anyone with equipment inside that weren’t shooting. As night fell, a heavy dew grew on everything outside, including my sound kit. As luck would have it, they only wanted me for the very of the day, at which point everything was completely wet. I expressed my concerns to production about powering it up after being so wet, and of course that made ME the bad guy. The lesson here is to do what you can to protect your gear because someone unreasonable will eventually make you put yourself or gear at risk and then blame you for the outcome. In the case of the OP, I keep my cmit in a case with dehumidifying packets as well. That seems to do the trick.
  6. This is perhaps more important than anything. Charging real rates will attract real clients that only care about the kinds of things that @Philip Perkins said. Charging less only hurts you and your career, as well as lowers the bar for everyone else.
  7. JonG

    2 person sound crew

    Proof that even when a state is willing to essentially help finance your film, even though your studio has the money, that greed knows no bounds. This is WHY unions exist. Because you can’t trust employers to do the right thing. They’re already getting people for 12h days, let’s make them double up on duties and leave them high and dry when they need an extra set of hands (like a second boom for example). Hopefully NM will get a strong union that won’t give into one-offs, right to work nonsense, and any other employer oppression.
  8. What others have failed to mention is that rushing out to buy gear is probably the worst thing that you can do. Before you go into business for yourself and invest in a bunch of gear, why not reach out to other professionals in your area, and learn more about the trade? A lot of people buy a bunch of gear, work for pennies, spend everything on upgrades and more gear, and struggle for years to get their rates up, because they never learned about the business side of things. To make matters worse, there is a budding number of people doing this aorbof work as a hobby, which hurts the business for people who do it for a living on many levels. Talk to others near you, learn from them. They may not be too happy about a new guy showing up and charging less than them. In my area we try to educate the younger folks so that they start strong with a better business sense, instead of working for pennies and teaching clients that sound isn’t worth spending money on because someone will come along and do it for nothing.
  9. Note that Pox not allowed, so they’ve already received infected garments as counter tactics.
  10. I think only vdb and ambient use carbon fiber, the rest are graphite to my knowledge.
  11. No, as I mentioned in my reply to the OP, I switched over to a more compact tactical bag.
  12. @Beyefilmproduction there is a section in this forum for job offers. You should try posting there, and include the location that you are shooting. Also maybe specify if you need a boom op and have a production mixer already on board, or if you are looking specifically for a sound dept. Many people do not know the difference.
  13. That looks very nice. You did experience the odd sagging on the left side though correct? I can’t help feeling like the straps that hold the mixer in on the left and right sides are sewn differently, and no matter how I played with the velcro, I couldn’t get it to stay up. I put various things underneath but always had the same problem.
  14. @Sound Intuition I don’t know which mics you are using on your boom, but you may be interested in knowing that there is both a Schoeps and DPA version of an active “Collette” style cable that will allow you to use the 5V power from your current transmitter and plug directly into the capsule of your Schoeps or DPA capsules respectively. So unless you are using other brands or models, this could be a good solution for you to power your boom mics off of current transmitter models.
  15. All in all, you guys are doing some amazing stuff over there and I am thoroughly impressed. I know that once you announce something new, the tendency is for everyone to say what else they want. But like you said, all in due time. We know you’re a small company and we wouldn’t have it any other way. Just keep at it and keep them tumbleweeds rolling out
×
×
  • Create New...