orionflood

Oh, so you guys aren't really talking about silent movies, you seem to be talking about movies that just don't have speech. I meant films that literally have no sound attached to the movie, so musicians have to brought in to play pieces that go along with the film. Don't get me wrong I know this could never happen again, but it sure would be really cool. Going to the movies would truly be a different experience every time you saw it.

I wouldn't mind if went either way. It would be nice to throw on the composer hat again and actually make a living writing for silent movies. I'm sure no one has released a 21st century complete music guide where titles of pieces include scary music, or crafty spy.

Hot Damn, those things are sweet. Thanks for posting Jim, and for asking Den. I thought those types of booms faded back in the forties, glad to see they are still alive and well. Does anyone know more history on their evolution...or the evolution of the boom in general?

Marc, much thanks. If its okay I will forward what you just said to one of the producers on the film who is a friend of mine. Might be able to sway him.

Marc, thank you very much for your post, very insightful. Well this feature is non-union and definitely lower budget than most union greenscreen shoots. l am fairly certainly it will be unorganized in pre-production, just because most of the team on it have never done a green screen shoot...but I may be wrong. In this situation they will probably ask me to set up an ADR type booth incase we do need to grab some lines. On previous productions with this group I've had to ask people not to say it was an ADR booth infront of the actors because they tend to freak out... Sound has always come last with these guys, for example the last feature I worked on with them they had name talent, a $160,000 camera, and I got $100 a day and less than $100 a day for more than 20k in gear. I was of course naive and lost much more money than I had gained and it almost put me in the doghouse being a noob and all. This film is much different day rate wise, but I still will have to grapple with budget issues. Anyway, thanks everybody for your help.

Thanks guys this is very very helpful. Very good responses. I can see where I might be in for a big fight with greenscreen illiterate producers/director/DP. I talked with the studio we will be at and they have confirmed that with most groups the audio guy is allowed in frame etc, so that might be my biggest help factor. I'll most likely go with the 641 for a mic. Concerning the curtains/fabric that I will need to put up around the crew, what is my best bet with that? I figured ferny pads, but that may make for an ugly set...

I have tried looking, but couldn't track anything down. Didn't find much.

Anybody worked a feature all on green screen? What did you do that worked? I'm considering buying some boundary mics for the occasion. If you painted a boom pole and muff all green...could you get away with getting really close to the actors most of the time? Thanks guys.

Wow this group at first made me realize how many sound mixers there were and how vast the film production sound world was, but now I realize that it is indeed very very small.

Now I know that most people likely work as a freelancer and get 1040's etc, but has anyone created a business and marketed yourself as a business, or does that make no sense once one has joined the union? To me it would make sense to go as a business, so that if something were to happen and one defaulted on their loans for that new Zaxcom recorder they just bought then all the bank can go after is your other gear and not your house or car. The other thing is creating a network, does it make any financial sense to have a business and hire other mixers (employees) to do gigs you cannot do and your employees use your gear. This would mean you would take the rental home, but the sound mixer would take the dayrate or w/e. If you do own a business, which do you think works the best, from my perspective the LLC looks the most appealing since you have pass through taxes, and your personal assets are protected from seizure in the event of bankrupcy or whatever. Thanks guys and Senator Mike. Tim

Thanks guys this clarifies everything...Mike does this mean you won't endorse me when I want to become CAS? I mean you won't not let me in right?....just kidding...thanks for the info.

Well I have no non-union experience in LA or California for that matter, does that mean productions I've worked on in Iowa/Missouri/Kentucky will not count towards the 100 days of work experience?

Yes, this is a tad confusing, but here are some resulting questions. According to the work experience sheet it says list work history in last two years, while on 695's website it says work history within the last 36 months, which of course is clearly 3 years. The year in my case really does matter...as I would assume in most cases. The websites are below, the 36 month is referred to in the how to section on the 695 website. http://csatf.org/ierapp.pdf http://www.695.com/html/whyjoin.html Also this has maybe been covered in previous postings, but there is a fee which is to be paid of like $2500, and then one must take a test? I think. What sort of questions are on that test...if this has been covered just post the forum if you could. Thanks for the help, very insightful! Tim

I am interested in joining the local 695, and yes I've read most of the posts here concerning joining the union and is it worth it etc. What I am wondering is what kind of hours count towards unionship? I've location sound mixed several indy features and docs, but those total hours alone I don't think quite add up. In the last three years I've spent more time on doing post audio for a few features and shorts. Does post work count towards hourage. I tried calling the union and never get great responses. Tim