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    New York-Northern New Jersey
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    Location Sound Mixer local to New York Tri-State area and DC and Baltimore area also.<br /><br />

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  1. 1.15? Sweet. I'm gonna go ahead and get that version. I do have Wave Agent on Windows and there it indeed runs fine. But at my job, the Lacie Drive where we are storing our daily audio files was formatted to recognize only Mac computers. Thanks for the help guys!
  2. Hey Guys! I've been trying to install Sound Devices Wave Agent to my Mac which is a Mac Os X Leopard version. (10.5). The install package on the Sound Devices website recommends the operating system be 10.4 and up. Just when it seemed I successfully installed the program, after restart, my Mac says that Wave Agent is not supported on this architecture. Any trick that can be done to get around this issue? Anything than buying a new Mac that is! Thanks!
  3. From some of the ones I've seen, I have only come across mulitple video feeds, but from different input types. Check out this Marshall monitor. Also, you're probably aware of the Sound Devices PIX 220-240, which I don't think have come out yet. I haven't found any details as to whether the PIX 220 and 240 will have multiple video inputs. Marshall V-LCD651STX-HDMI http://www.marshallm...HDMI/index.html Sound Devices PIX 220-240 http://www.soundonsound.com/news?NewsID=13869
  4. Definitely of great use. Thanks John!
  5. Wow! LOL! That's crazy! I, in my years of doing reality, haven't run into a field director/ producer (atleast not yet) that ever shortened the term 'Man on the Street' down to MOS. I mean they should know it would conflict with the more predominant meaning of the acronym, Mit Out Sound, which means OMIT SOUND or without SOUND. You can eliminate possible confusion by saying the words in full, Man On the Street, or if you want to use initials, then use OTF? OTF can't possibly be confused with anything else. If you were sending audio to camera, I take it your shooter wasn't alarmed that there was no audio, because he probably interpreted MOS the same way you did. Or did he have a mounted shotgun in the close-up interviews?
  6. Thanks for the insight, Matt. It definitely helps differentiate the variations of sound crew-hirings that the networks do. Didn't know that CBS would not view you as an ENG worker when hired by Satellite Truck companies.
  7. Glad to hear that you were well taken care of. I take it that you had the surgery before your appendix could rupture in any way. Are you now walking on your own? And how many weeks or months slated before your doctor thinks you can begin lifting heavy weights again?
  8. Two weeks later: Hey Jon! I tried the BWF Widget Pro and it executed perfectly. The files I recorded as BWF Wav were too big to send over the net back at the production office I was working for. And now they are downconverting the files to MP3s themselves and shipping it to the transcription house with zero issues. All the while the footage gets archived with lock and key at ABC. So the SMPTE timecode to reference audio to video in reading transcripts was a big deal to them. Thanks!
  9. Hey Senator, Thanks for the info. The freelance producer hired as contractor and then hiring crew does explain it. And yes I wil keep my name in the directories no matter how disappointing the calls.
  10. @Senator. Thanks for the breakdown. FOX News is definitely nonunion. However, I've had calls where the shooter had CNBC as clients where a journalist was trying to complete a business report. The offering rate from the shooter for that was $300 for 10 hours. And the 9th and 10th hour were not at OT rate. And CNBC I believe is Union. I'm just surprised that nobody gets these crazy calls as much as I do. Maybe I should take my name down from a couple directories. I don't know. @Matt: No they never ask me if I'm union. All that will change though. I worked a total of 19 days with ABC at NABET rates and will exceed my limit of 20 where NABET makes it mandatory to join them should I continue to freelance for ABC. Here in New York that is.
  11. This is pretty much why I find myself working in docs and reality more than anything (not a bad thing). 80% of the calls are from production managers, and the other 20 from fellow sound mixers who need me to dayplay. But then the sound mixers put me in contact with the PM. And the talk about rate and gear is fast and easy. And they prompt me over all the paperwork for me to get going on their payroll system. I don't get this phone tag when it comes to network news productions. I get the shooter instead (I stand corrected from referring to them as DPs for this genre of work). And when they tell me the budget for sound and then I tell them my rate plus gear, they hang up and look elsewhere. It's frustrating, because I'd like to take advantage of ENG work on weeks (and sometimes a month or so) where I am not commited to long term projects. Yet these certain shooters I've had contact with on the phone are the ones that give out the ENG sound jobs. @Matt: I've had those shoots where I invoiced ESPN. And they literally take anywhere between 45 to 90 days for the paycheck. Which can be a pain. BTW, I am not painting all camera ops with a broad brush. There are shooters that do call me with fair pay. It's just that they are in the minority. I get alot more camera guys offering very little for the job. My complaints are along the same lines as Whitney.
  12. Jack, for confidentiality I will send you the name of the person emailwise. I will look his name up when I get home. Actually a few others as well.
  13. But that's the thing. You keep to the network protocol. Does the network call you direct mostly as opposed to a DP? For the sake of conversation, on an ESPN gig (let's say Sal Paolantonio with breaking news coverage out of Giants Stadium), wouldn't that be a NABET unon gig? It is ABC. I've had a call giving me those details from a DP with the sound mixer rate set at $350 on the phone. I think I am exposed to these calls, because I'm in all kind of directories and listed as nonunion here in Jersey.
  14. I feel that this is an issue that I haven't seen brought up in our forums. How common a practice is this?. I would like to see myself work ENG gigs more often than I do. But the problem is that there is a practice that I see happen way too often. And that is when a network hires a news crew, they will hire a DP first and then the DP will go out and hire a sound mixer. Certain DPs will take advantage of this. And when the DP finds the sound mixer, he'll ask the sound mixer to bill him instead of the network. This is why I can never get into ENG shoots as often as I'd like. The DP is in the middle of my negotiations to get on payroll with the network. He would like to add me on as part of his ENG package. And it allows the DP to take a chunk out of what is meant to go towards the sound budget off the record. When I first started and barked up the wrong trees for true opportunities, I was a sucker for these jobs until more experienced sound mixers told me to stop doing that crap. I still get these calls from time to time and say no. The DP will offer $300 to $400. But at places like ABC or NBC that deals with unions regarding freelance work, a sound mixer should be able to get atleast above $450 for 10 hours on the books. OK. Opinions please!
  15. And now for the worst of the rechargeable brands. Stay away from purchasing any Power 2000 NiMH rechargeables. You'll come across them at places like JR Music World. They were a terrible investment. Every couple recharges, the battery would fatten up and explode. And take the charger with it. The charger poorly recharged the nickel metal hydrides anyway. I lost my patience with them and threw all 30 rechargeable batteries and 2 chargers in the garbage. $200 in the trash.
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