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orionflood

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Everything posted by orionflood

  1. I hate this whole conversation, especially hearing it from the ones who are actually working on the current top notch blockbusters. I thought I was dealing with a phenomenon when I couldn't listen to rehearsals and when the director says lets go right back in while the camera is still rolling I have to say, "no sorry we have to cut I hear something over in this corner I've gotta turn off" They all look at me like I'm a freakin idiot. I just simply...had...no way of hearing it beforehand. I also didn't understand why the production house I worked with insisted on really only using lav sound and not using boom as much...BECAUSE THE DAMN CAMERA ***WAS*** THE ROOMTONE!!!! and you heard it more on boom than lav...I don't know why I want to even do this kind of stuff if this is going to be the norm...
  2. Looking at an articulate boom to help my back, do they work/last?
  3. Well I study and study audio stuff, try to keep up with all the BS going on in the industry, but then I work with a DP on an out of town gig with him. (I usually ask them what they think makes a good audio guy) He responded by saying "oh well where I work I only get the production company to hire someone who knows how to set up my tripod and get started setting up lights etc." I thought to myself...wtf I have no desire to set up your tripod or touch anything camera oriented. This has been the answer from quite a few DP's I've asked. Is this a bad attitude? I don't mind helping people, especially if it means we get a shot and get out of a place quicker, but really? Immediately after that he pointed at a PA/grip person to start setting up stuff while he got on the phone with someone who he started talking about for a gig next week. He did this repeatedly. One time he called cut and walked out before the director did to take such a call. The director looked like he was used to it and didn't act disgruntled. He told me later: "this gig is low for him and the production company was lucky to have him." He said he had millions of dollars worth of gear...etc etc. I've seen many DP's now do this, break a shot and then get on the phone with a gf or other company to discuss another gig. I always turn my phone on silent and wouldn't dare take a call even if it was seemingly a long shot because I know at any minute we could be up again. Do most of you bag mixers expect to set up camera stuff/ list it as part of your job?
  4. Anybody working the Olympics? You Excited...who you rooting for? I'm rooting for use in Handball...oh wait...
  5. If someone offers you a low ball gig why not accept the gig after much frustration over the phone because you don't work for that low etc and then NOT show up on purpose. #1 it instills in the producer that it is difficult to get someone for that low. #2 It will hopefully nail at least one in their coffin of getting burned by trying to low ball all the time. #3 You use a false name haha
  6. What do you mean audible slate? It is still or ever was common practice to say the take? When does the sound mixer say it. I always thought the second AC says it. I would rather say it myself but don't know when...also its convenient because its right before the slate...or do you say it right when you press record.
  7. -Richard is this a sound man rookie error, or a 2nd AC error?
  8. Hi J.D. I've been looking but am unaware of any film sound unions in Louisiana. I'm assuming the best one to join would be iatse 478...but there is also 39 that I see.
  9. Richard a leased warehouse? I know nothing about that...wouldn't that be more expensive? I have thought about living out of a Toyota Dolphin for quite some time now. You can do that on the street in LA and not get pestered. Do it near a 24hr fitness and take showers etc. then you are all good. Depends if I ever wanted a gf but we all know that isn't possible in LA...finding a solid woman...please Thanks John Paul for the advice. I think the only other type of job that gives a person the same high would be an EMT of some sort. Where physical fitness is also important. I love this site too I check it more times than I probably should...most likely as much as the Zaxcom Nomad page on Trew. I want to work more more more...and I want to buy more more more gear...all before I get old and tired...no offense senator.
  10. Thats what I like to hear Robert haha...although I don't do it for the money I do want to do it for the people and the atmosphere at least I COULD not have to live in a van that has solar panels on the roof.
  11. Hi Robert, I understand what you mean, but with the possibility of making union rates and then added equipment rentals at a great rate...I don't quite see where 50k is decent. Especially when at least according to the 2011 salary posting here almost 80 percent of the people were above 50k. Almost 9 percent above 200k... Philip thanks for the advice, I am trying to make a plan, but as you basically have to be in LA to join the union... Is there really a way to start getting jobs before one moves to an area in the field? I wish I could just search the web for job leads but to me at least this field doesn't seem to work this way Eric, I understand what you mean unfortunately all of a sudden there is no pond though. I can count all the production companies on one hand in my area and I can't call them everyday asking for work. I would like to think that cream rises to the top and if I hit my face to the grind stone I can make some headway in a city where there is endless work only competition standing in the way.
  12. You hear all the time how actors and camera guys had to or are still living homeless in LA waiting for the big break. I've never heard of a sound guy living homeless. I'm a young guy still and want to go to LA to get the education and experience that comes with it. It'd be nice if I had some income while doing it too but don't expect it. I'm close to getting in the union but again that would be just to gain more education and meet other sound mixers. I have great credits in the midwest and could probably make 50k a year working here, but most veterans I know went to LA for some fragment of time and learned a good portion of their craft there from the old timers and being involved in that community. Don't worry I see no point in taking a 100 dollar a day gigs and cheapening the craft, but if I had to live out of a van to go to seminars put on by Coffey/Trew or learn how to work a fishers boom through unions seminars I would do it.
  13. Might be the only one thinking this, but why do you need a mac mini for location audio?
  14. I hope your dayrate for whatever shoot you are using this for is at least $650 any less would be embarrassing!
  15. Can someone post a pic of an earwig...I frankly have no clue what one is supposed to look like.
  16. Has anyone else ran into somebody who threw down the money for a Trew Audio "package" and then started getting gigs from you and then calling you asking you how to link the 552 up with a timecode slate?
  17. This is very interesting MFA All of these things I understand...but when it comes to your theory based questions...I'm slowly overtime being able to quickly identify most especially phase cancellation...and you can almost know that you will have a standing waves problem when you walk into a room...is there anywhere online where someone goes through each example and lets you hear the problem and then goes into the room and fix the solution...You can do an apprenticeship but that doesn't mean you will pick up what masking, comb filtering and other things in the perspective of what they actually sound like.
  18. Thanks Jay, also are you the author of Audio Postproduction for Film & Video?? That is a great book. Anyway I worked with a British company for the first time in November of last year and they told me I would receive my check from their US branch...which I eventually did. When a few days ago I asked if they would be sending me a 1099 and they said they had no clue what one of those were....is there anything I should expect from them?
  19. Your lucky your getting offers for work. Although the home-based request is nonsense...what if you live in your studio...
  20. Has anyone worked with Daniel Day-Lewis?...it seems in most of at least later films he has a specific mic technique...the sound of his breath etc...which is of course very convincing and is all part of his total package etc. If you have worked with him does he or can he request a certain mic technique? Has anyone encountered a high profile actor whose contract states some sort of micing technique or mic usage? Of course many musicians I have worked with have very specific mic and eq recommendations if they don't know you as a mixer...wondered if anyone has encountered that with an actor...
  21. I only ask this, because I've heard from other sources that usually only boom will make the final product, and relying on wireless is like relying on ADR. Now I know that depends on the venue, thats what motivated the above question.
  22. Could anyone list a percentage of boom usage to wireless usage depending on environment so in my case though I am still new I would say I use my boom maybe too much of the time, so: doc: 75/25 TV: 50/50 etc etc. I try to use both whenever I can, but in my head I know only one or the other will be used...that is the ratio I'm looking for.
  23. This is great to hear. I honestly had no idea what kind of response I would receive. It is great to know that I no longer need to worry about those times, because that is why I am doing it, for the story, for the moments etc. Thanks.
  24. I got into film/TV because of stories. Although probably not talked about a lot on here...has anyone had an emotional experience on set? This is aside from doing your job and getting the shot. I watched the indy film The Beginner's and thought about if I was on that set, some of it was pretty powerful and if I was the mixer I would have found myself going through some of the same emotions the viewers were intended to have. If you the sound mixer get the shot as your supposed to, is it bad to shed a tear of laughter or sadness etc. Is this in the grey area of set etiquette? Also when being a boom operator, are you always supposed to avert your eyes from the actor/not make eye contact? I have had a few moments doing a few films, and no one has exactly said anything because everyone seemed to be on the same page. Anyway thoughts?
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