mikefilosa

Worse - do they even realize what can go wrong shooting double system for film with an "intern"..? MF

Having a teleprompter business on the side, I have often thought of this idea ! They are right about focus and eyesight. I think conditions would vary so much using this though - different windshields, tinting, direct sunlight, etc. Plus, at night it would be dangerous, as your attention would be more solidly attached to the "screen" as opposed to rapid changing events, curves, DEER, and even bicycles, people, and bad drivers around you. MF

There was a time when the camera crew was an operator and ONE assistant camera - and more things could go wrong back then. And it all worked well.... Now it seems there are always 3 or 4 - and pictures are pretty much WYSIWYG... THATs the great big change in the world of HD cinema.... and of course, even with that many people, god forbid there should be a WIRE connecting camera to monitor... it has to be a Teradeck or similar wirele$$$ signal... they rent for about half a sound package, dollarwise. Stand your ground hombre.... MF

Pascal - that is the Stephane Bucher soundcart, one of the principals at A4 Audio. It is AMAZING in design - fits everywhere, and spins into place with ease. It is very customized, and significantly less in width than a typical 19" rack case. One of the features you won't see here - he is able to quickly pull his Cantar rig off and go over the shoulder / around the neck in a very short time, disconnecting from the Cantarem and having access to the Cantar onboard faders. Pretty handy with the ever changing, fast evolving needs of the shows and sets he encounters. I got to work with him extensively on the Atlanta portion of Taken 3, and really learned a lot from him (and his outstanding boom op, Jerome Rabu) about the European mindset of "gettin' it done". (Stephane was the mixer on the outstanding film "Lucy" -- what a great soundtrack. ) I've always had the utmost respect for what I call the European approach, and it was fabulous to be immersed in it for a couple of months.... MF

I just now saw this thread... Phil - I have seen some awesome custom covers made for large mechanic carts on the Nascar circuit. These are very much the size of your, and many of our colleagues', SKB-ish style soundcarts Every team seems to have a couple of them - very robust waterproof cordura-like with the big sturdy zippers. Though you might have good direction already, they are worth a little investigation as a possible alternative. Good luck on the final finish - looking forward to pictures! MF

Todd - How do good people on the roster get better and more experienced when their opportunities are snatched away? And right now, two shows are operating with unusually large sound crews - the condition you may be experiencing is quite unusual and temporary. When they both wrap (one next week), the glut of available brothers & sisters out on the street looking for work will soon be unfun. Rob - I believe you are being mis-advised regarding IATSE membership, and it's an easy guess by whom. Would it not be a violation of the L.A. 695 contract to work for ASA rates? There is no wild-catting, as far as I know - the rates of the 695 contract are to be respected by it's members. Not illicitly negotiating around the contract, besides being the right thing to do, is what levels the field. The 695 contract is what we all hope to work under someday, should the wisdom of forming a national sound union be realized. I know that there are various tiers and side-letter BS that 695ers have to deal with, but the contract is the contract. If you want to be a local in Atlanta (and be subject to the near 50% reduction in rates thanks to the ASA) you need to apply for and be voted into Local 479. As well, I'm not certain what the implications are for insurance options via IATSE under the bad advice you are being given. I, and every other mixer in 479, is under oath to employ - and promote the employment of - our local brothers & sisters. As long as the roster has available people, I would not be able to bring onboard anyone that was not "479", as I would be subject to charges. Not being harsh here - I hope to meet you and work with you sometime soon. But you need to be 479 for that to happen. MF

My nominees - ANYTHING by Lalo Schifrin, starting with: Of course, the original Hawaii 5-O theme always got me going.... MF

VERY slick indeed! I'd love to see a pic of the undercarriage .... the wheel attachment. Regarding handles, I wonder if a pair, bolted into a 3-4 RU panel screwed into your existing rear rack rail, would be a viable option? MF

This MO sounds like a UPM budget ploy. Of course you are wise AND professional to bring them along, just in case. Your professional foresight has ALSO saved your initial client, who's own clients (director, producers, agency folks, etc etc) might well be upset that they didn't have them on their "order".... When that happens to me, I go straight to my contact first and make sure that they understand the request and the requisite charges. ONE Lectro R1 = $1000+ investment, with transmitter & receiver - and $50 is my norm, with an additional 20 - 25 for each additional (plus 9v batteries). If that's happening to you with any frequency, I'd continue to be proactive and also let your marketplace friends know that it's going on. You should all be together on that issue. MF

What a great insignia ! MF

+11 Bold, ALL CAPS..... One day of shooting can easily amount to $20 - 40 dollars in batteries. 2 or three wireless, 4 comteks, 10-12 hours... 9v @ 2per, Lith AA @ even more... Why would anyone not charge for this? It is NOT nickel and dimeing here - that's real money 5 days a week. MF

The term Comtek often refers to the overall versions and brands of client headset feeds. Though the actual Comtek brand is a bit cheaper, many of us use more expensive Lectro R1s or Zaxcom ERXs. I happen to own lots of all three flavors. I find no "grey areas" with regards to Comteks. If they are part of the normal package rate, I provide 4 for the essentials. One for Director, one for Script, Two for Producers. All of the extras are billed for, at usually 20 per, per day. I am very upfront about this with producers and coords, as sometimes they want approval before I hand them out like candy to people that really don't need them to conduct their day on their laptops with FaceBook, barely engaged in the product. And I bill for every battery too, including the transmitter. That's at least $10 depending on how long the day goes. That is not nickel and dimeing. Do not leave money on the floor. Other crafts don't throw two dollar bills on the floor all day - why should we? Back to "Comteks" - There is no grey area about the significant investment involved in having them around, with headsets. There is no grey area that I or my team will be tending to these all day in addition to mixing sound. There is no grey area about their exposure to damage and loss. Giving stuff away diminishes the value of the stuff.... profound, eh? The stuff has significant value - you will discover that when one or more come up missing someday, or when one is crushed or missing a knob, or a pouch is ripped, and you have to deal with it = time = money.... Charge accordingly - it's business-like. MF

+11 MF

And that's right there where they want you.... Set your limits up front: i.e. 1- number of wireless mics and / or comteks included 2 - billed expendables, batteries, etc 3 - reasonable mileage expectations ( I do 50 free roundtrip per day, then work from there - if you are not careful here you'll be giving away 100 miles (IRS value $55) and an extra two hours of your life on each side of the job. Get them established in a phone conversation and then an email, and then collect the revenue - which you need to grow and prosper. DO NOT GIVE STUFF AWAY - it hurts us all. MF

At this point I might also add that, lately, what constitues an "AC" can be often be somewhat lacking ---- One used to bring a front box and at least a set of proper tools - and of course a slate, and even an insert slate. Now I'm being constantly asked if the can "borrow" my dry-erase (?), screwdrivers, my Leatherman, and if I carry around a P-Touch!! (Printing your labels is NOT part of my gig, pal) I now carry a dumb slate around in the van as part of my stuff - but if they cut me early "you are SOL bud" MF

To the OP - I am thinking that at this early stage of your career that you might need to make immediate contact with other, more experienced mixers in your market to access the actual rate structure for labor and gear numbers... In addition to learning what to bring (plus expensive spares, just in case) you really need to be charging clients appropriately, lest you inadvertently become the scourge of your marketplace. This is very important to ALL newbies in ALL markets. MF

Gotta attract viewers somehow!! MF

Nice site Jim ! MF

I thought it was to teach them how to use their hind legs..... (quote from a local grip buddy!) MF

I just now came across this thread, and the antenna looks great... Just curious, is anyone using a less directional, more "omni" version of external 2.4g antenna? It would seem that I would be most concerned about a 200' radius from my cart for clients, actors and such... and who knows what "direction" they would be at, from me... MF

These articles from Variety are getting so full of shit. Quotes from a producer disparaging Georgia crew over safety?? NOBODY from Georgia is getting sued here Ellen Schwarz - THEY ARE ALL FROM CALIFORNIA. It seems like there is some organized attempt to attach Georgia to the behavior of a California producer team and there sheer lack of respect for rules and safety. Listen people - we have been making movies here for DECADES. Georgia was number two in the WORLD back in the 80s and early 90s before Vancouver began the incentive game, then to be followed by Wilmington and then Florida. MF

Nice to see these again - need to get some.... Rado - would one be able to trim these back a bit to help reduce chest hair / clothing rustle? Do you think it's the "fabric" of the fur (polyester?) or the length of the fur that might contribute to your experienced negative effect?

The O'Connor 100 is in demand lately - I sold two of them about a year and a half ago for pretty decent coin.... The relatively smaller size and significant weight handling capability are attractive to cam ops that are in the know - sometimes older is better! MF

Nick - Couple of questions for you - 1 - do the drawers seem to shut and latch closed with a modicum of security ? 2 - is it thick enough? do you think the plastic will be brittle or possibly crack in cold weather times ? Per your thread here, I'm looking into one of these myself ! And I respect your assessment - Whatcha think? MF

I got a sobering fresh perspective on this from a fellow executive board member here in Atlanta. He hopes they "go for it" - consider - if they DO make the film, hope it is a great one, and a big success..... Thus there will actually be something for the family of Sarah Jones to "go after" when the trials begin. Otherwise, obfuscation and the overall corporate veil might shield the perpetrators and bury the project in bankruptcy with no assets to go after. I AM shocked that they are going on. I am NOT shocked that they won't be working in Georgia or Louisiana. I am "stunned" ) that they somehow now have the money to proceed in California ( or do they have Low Budget Tier 1&2 there too? ) Anyway, my colleague's fresh perspective does have me thinking a little differently than when I first heard the news... MF