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Joshua Anderson

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Everything posted by Joshua Anderson

  1. Back when I worked on Alexa camera jobs, we only used smart slates. But we would jam the camera. Sometimes we'd have to re-jam the camera after frame rate changes. But no sync boxes. Now it seems like I only work on Red camera shows and because of that camera's reputation, we put a sync box on it as well. At this point, post wants the sync box and even if Red improves the consistency of their time code generator, will anyone believe them? So I think we'll always be in a world where we use a sync box with cameras from that company. Just because the camera is getting time code doesn't mean the slate isn't important. It has all of the shot info like scene and take and that's what my notes and the script notes reference. In addition, when we shoot in slo-mo and cover dialogue, I try to get a heads and tails clap in case it helps do a speed ramp if they go that route later. I know some shows like House of Cards don't use slates. They just jam the cameras and the AC's input metadata onto the Red cameras (maybe via iPads?). The mixer on that show, Lorenzo visits this forum - he might be able to chime in. I assume it takes more overall time to wait for the AC's to put that data in (and AC's are a little notorious for having incorrect camera reports - sorry. At least with the visual slate, the script supervisor and the mixer know when the camera has been mis-slated). Josh
  2. I worked one long day on a reality show where the main subject was training for a race. We were filming at night in a park. Our main subject, who was also the producer was running with his coach and we were in two golf carts, leading them. I was next to the cameraman in the back of the first golf cart and the director was in the front seat with the driver. At one point, the two runners stopped and started chatting. The director started to talked into the cameraman’s ear and in the process said to cut. So he did and lowered the camera. Our subject went off the handle and started screaming “Did you cut?! Why would you cut?!” The cameraman calmly responded that the director had told him to do so. This of course, infuriated the subject more and he started to yell at the director to get back in the golf cart and to never tell the camera to cut. Obviously, none of this was the cameraman’s fault. It was an accident by the director. But the cameraman calmly took the yelling. And he responded to the subject’s irate questions with “Yes, sir” (to the question of if he had cut). The cameraman had been in the marines and I think that was the main reason for his calm demeanor. There was nothing to be gained by “fighting back.” In fact, the only gain could come from acknowledging that we had cut and being ready to re-engage filming. Arguing over blame was like spinning your wheels in the snow. We take pride in our work and we need to have a bit of ego and confidence to put up with the personalities and long hours. But those same qualities can cross a fine line into feeling like you have to stand up against being disrespected. We’re not saving lives here. I’m not always successful, but I like to think I try to keep that calm exhibited by that cameraman. Josh
  3. I don’t think it’s a necessary addition to the forum. Adding another section just adds clutter to the site for a topic that could easily fit under general discussion. I’m usually in favor of discussing actual rates, but I don’t think much will come from a new section here. There are too many variables, even beyond location and experience. Negotiating also takes into consideration other valuations and that can get very personal. Sometimes a job isn’t just about the money, but also who you’re going to work with, the script, even the potential experience gained. But at the heart of negotiating is the willingness of either party to walk away. Sometimes you’re the last sound person in the hiring pool that production sees who’s available. Sometimes the job is the only one you can get at the time. Using a recent topic - if asking a question about a slate can bring about harsh responses, what will a conversation about money do? If I describe how I work or handle a particular problem at work, you may disagree, but there isn’t a quantitative metric beyond “did it work?” But comparing money is too ripe for ridicule. On one hand, it is enticing to have a business topic. I’d love to read and discuss more about tax and business structures. But I think those topics can be handled in a discussion. If you want to know a sound mixer’s opinion about S-corps, then ask the question. If you want to know how much mixers in Cincinnati are making during the month of August, then ask the question. But I think you’ll find more mileage having personal discussions with the circle of mixers you know. In your own community. So, if someone is tallying a vote, I don’t think a new section is necessary or even helpful. Public or not isn’t really relevant. If you want to have a public discussion about rates, ask a question and see if you get answers. If you want to have a private one, email people instead of using a public forum. Josh
  4. Same as Mirror and Robert as far as waiting for the camera to cut. I'm not sure if it matters as much in the digital file world, but it was better for the transfer house at one point if sound cut after camera (or at least someone told me that once). But there are enough times when a "cut" turns into a "keep it rolling" that I'll not only wait till the camera cuts, but I'll ask my boom ops to tell the AC's when they've just left the camera rolling by accident. As far as mics being broadcast - only when the actors are on set. Sometimes I only bring them up once action is called. Car scenes can be a little different. We'll let the actors know the mic is open, partly so the director can hear them and they don't need to fiddle with a walkie talkie. Josh
  5. Sorry for your loss, Jeff and the loss to us all. I've only met you once in person and never met your father, but reading some of the news reports, his obituary and an old NY Times piece, "The Woolf's Young Turk", that I stumbled upon has given such a great view of an amazing person. Judging by the outpouring of memories, I can only imagine what a treasure he was to you personally. I've also learned of quite a number of films I need to watch, starting with finding a copy of "Medium Cool." Again, my condolences to you and your family. Josh
  6. Thanks! Didn't think about Discogs - another bonus. I made sure to send that same pic to all the production sound people credited on the back. Most weren't aware there was a soundtrack released. It was such a small movie, I'm not even sure it's on Netflix, maybe Amazon (Certainly no screeners of this one). But I'm thrilled the producers did that. After a few shows on a network show where the credits fly by so fast (and even on my current Netflix shows where they are still fast but at least list all of my crew), it was a really nice gesture from the producers. Anyways, I have a few vinyl records that I like to put on and adding one to the pile with my credit is something I look forward to playing for my son when he's old enough to read it. Josh
  7. About 2 years ago, after we finished our run on the musical TV show, "Smash", my team and I worked on a small musical film called "The Last 5 Years." We shot in NYC for about 4 weeks. It was an adaptation of the Broadway musical of the same name and the goal from the Producers and Director was to record the vocals live as much as possible. They pre-recorded all of the songs just in case, but in the end, I believe there was only 1 song that was predetermined to be a "playback" song. Shooting of the film went great, and it was a fun experience. However, it was a small movie and even though it starred Anna Kendrick and was directed by the screenwriter of "The Fisher King," it sort of came and went in the theaters this year. Recently, I found that not only did the film release a soundtrack, but they also released it on vinyl. So I picked up a copy. To my surprise, there was a little note on the inside of the jacket: "The majority of the vocals from the film and this album were recorded live, on set in various locations throughout New York City.” The Record Producer even told me that everytime he tried to put pre-recorded vocals onto the album, the other producers requested the live versions from set for the record. It was a nice sentiment to hear. But what really amazed me was that the producers listed every sound person who worked on on the film. Everyday, we had a 4 person crew on set: Myself, Gregg Harris (Boom Op), Terence Maitland (Utility/2nd Boom) and Jason Stasium (Playback). But there were a few days that Terence and Jason couldn't do and the producers listed Allison Jackson, David Tirolo and Greg Sextro on the record jacket as well. It was so cool to see the producers of this small film take up valuable credit space on the record to acknowledge every one of us. I'm super proud of the work we did on the film, and most of that quality depended on the other 6 people credited with me. My hat is off to Kurt, Lawrence, Richard, Steve, Lauren and Janet for going, what nowadays seems like an extra and impossible step, of acknowledging not just the sound department by proxy of the mixer but in entirety. Josh
  8. Thanks Jose and Malcolm. I don't luck out and get away with never wiring - that's for sure. I certainly get my share of scenes with 2-7 speaking actors in situations where I do need them wired (outside in NYC being one of the main reasons). But I try to "get to the boom" as much as possible. Even on exteriors (which happened today, actually), if the cameras get close enough, we'll go to booming the shot. I might still record the ISOs of the wires we used, just like I'm recording the ISOs of the boom/booms. But if I'm committing to the boom in the mix, I'm not monitoring them. We might even have to stuff them further into the clothing to hide them better for camera. Constantin - there certainly are ISO's when we don't wire actors. If we get a scene that can be handled with one boom, I'll give an ISO of the boom in addition to the Mix (which is really just the boom). That lets me ride with the mix track and keep the ISO of the boom at a slightly lower level. And once we start putting out a second boom and maybe some plant mics, I can easily have 3-4 tracks of ISOs without putting a mic on an actor. In fact, in my last show I had a scene outside with an actress outside of a car, speaking to the driver. The problem was that the driver spoke some lines towards the passenger window, some lines while looking through the rearview mirror and some lines out the drivers side window, including some where his head stuck out the window (this made his neck and chest "covered" by his car door). We filmed this scene around the time there was a discussion here about checking your wires as that might save post or something about how wires were better than a mix track. In that scene, I think we put out 5 microphones: 1 was a boom, 1 was a CUB and 3 were COS-11 lavs. But only one of those lavs was on an actor. For the guy in the car, to cover all of the speaking directions, we ended up using 3 plants (1 CUB, 2 COS-11s). Had I disregarded a mix and went with the lav 'em - only use the ISO approach, we would have had problems with certain parts of his actions. Malcolm - I haven't had specific requests from Post to provide more ISO tracks than what I do give them. Whenever I use a mic, I give it an ISO (up to 7 ISOs, leaving track 1 for the Mix). I'll give ISOs of practical mics if actors are using them in a scene, video playback feeds, and different mics if cameras are placed to give different perspectives of an action. So I do feel like I give Post a lot to sort through if they want to. But I try to get as much to the boom(s) in the mix. I'm guessing you will do the same: I'll push for similar frame sizes so even on wider shots, I'll let things play wide on the boom. It sounds the way it looks and if it means we don't have to wire the actors, it'll sound better and we'll work faster. I'd rather spend my department's time and energy on parsing through what different camera angles are needed for certain parts and making those shots sound like they look, than to spend that time/energy on micing a bunch of actors and having it sound like wires. If that means doubling down on the communication with the DP, even to the point of invading frames when they aren't useful for the picture edit anymore or just trying to convince them to hold off on the tighter shot while we shoot the wide, then we'll do that (It doesn't add time if you catch it all early enough, cause they'll adjust their lighting to it). -Josh
  9. Having a cooperative DP is essential. Sometimes, they want the same thing you do, because a wide and tight can mess with their lighting. Sometimes that means you're on a collision course with your DP about who is going to be the bad guy to the Director for suggesting 1 camera at a time. In narrative television, we're constantly facing the two camera dilemma. We mostly boom (and double boom) entire scenes. I hate using the wires, and we'll try our best to not even put them on the actors. But then negotiating becomes essential. I'm very appreciative that I know my current DP so well. We're on our second consecutive show, but I knew him when we both did non-union features, when he was pulling focus and also when he was camera operating and I was 3rding. There's a familiarity that we have that makes things a bit easier. Of course, there are times when I lose out. We might be out of time, and I'm just going to have to figure out a wide and tight situation. Even with good communication, I'm always wary of losing to the cameras leap frogging each other. If I successfully get my way on the first set up to split up a two camera setup between a wide and a 3/4 or wide medium shot, I have to watch out for that first camera (the one that shot the wide) framing up a close up when the second camera (the 3/4 shot) has their turn. Otherwise, you'll just find yourself in a cycle of cameras leap frogging each other as they get tighter and you're stuck with constant wide-ish/tight-ish situation. It's akin to winning the first battle but losing the war.
  10. Are you fucking kidding me?! $10/month? For sound reports? How is that a subscription service? I really like movie slate and I run it on an iPad mini that is dedicated to the sound cart. I guess I won't upgrade the iPad or the app anymore. Ridiculous.
  11. You became the de facto Shop Steward. Sounds like you handled it just fine. The leverage you had, though not mentioned directly, was that if the last turnaround wasn't reasonable, people wouldn't have much incentive to come back for one more day of filming. In the future, it's better if the crews your working with elect a shop steward (typically not a department head) who can act as the voice of the crew for anything that comes up that seems unreasonable. Usually those terms end up being based on typical union terms (9-10 hours of turnaround, the "zone", etc). In that particular job, it might have been a bit unreasonable to expect people to do that long of a commute every day. It would have made a lot of sense for production to put people up in hotels Monday-Friday. But since that wasn't a required term at the outset, the lack of crew organizing or having a shop steward means it wasn't addressed. The long hours are unfortunately a part of the industry until someone proves it to be more cost effective to shoot it with shorter days. Overtime, Meal Penalties and Turnaround Invasion Penalties are there to help deter the long days and short turnarounds. On those non-union features, it's good to get the crew together early and talk about having a shop steward and everyone's expectations (which, of course, can range from reasonable to unreasonable). Also, as you work on more jobs, you'll notice more cues, trends, or questions to ask to try to tell if a job will have long days or not. Shooting all nights outside in the summer? Probably not as long of days as shooting all nights in the winter. Hopefully, you'll get to know which DP's are faster than others and that sort of thing. It's not all bad. Try to budget your money so you can have time off between the movies and maybe be selective of the jobs offered. Josh
  12. One problem I see happening in NY right now is that people are building up a lot of experience working non-union reality sound mixing work and not narrative work. Once they get into the union, the want to keep mixing and making equipment rental. Who can blame them? But they aren't prepared to work on a narrative show and they usually don't know that they aren't. Nor do they want to commit to one. It's busy in NY and some mixers are needed, but what we really need are Boom Operators and Sound Utility people. I've been fortunate to have two guys with me the past 5 years who both know how to boom and how to work on narrative shows. But I know other mixers who have had troubles crewing. I think apprenticeships, internships and education about working in the sound department on narrative TV shows is important for NY. I shouldn't have said union reality shows in my last post. It's all reality TV that is different than narrative TV. Josh
  13. 800 hours of what? Union reality TV? And then they're supposed to know what to do on a TV drama?
  14. No education courses for Sound? Doesn't make any sense.
  15. Radio Frequencies have a harder time getting through salt water. I'm not sure if skin is grounding out the RF, but getting the antenna off of the closest body of salt water does help.
  16. As long as you put the wheels on the four corners, you'll naturally have 3 holes that should line line up with the slots on the frames. You can also get thin metal squares that can go between the wheels and the frame - a sort of platform to attach the wheels to. Judging by the pictures, the holes on the wheels look big, you'll probably need some washers. But you can put screws right through and into Drop in or slide in T slot fasteners. For the rack rails, you need the width from center left rack hole to center right rack hole to be the same width as the two horizontal T slots. You'll probably go through a distributor for the 80/20 and they can probably go off of the main constricts of your design.
  17. I usually draw a line after "normal wear and tear." I feel like equipment used in an appropriate or normal manner will have some wear and tear which I am responsible for. That's what rental fees cover. But beyond that wear and tear, an L&D is filled out and production should pay for it. That's the case when things break. If something breaks, and I can fix it or clean it and I don't need to send it in to someone else, then that sort of brings it back into normal wear and tear. Again, that's the rental charge covering basic maintenance. Even if my maintenance is someone else's repair or vice versa. Extreme situations, which sand could be considered sometimes, could be considered beyond wear and tear. Sand in the gear can be damaging. But then you should probably send it in to someone. Sort of like enlisting an independent 3rd party to identify damage and then repair it. If you aren't sending it in, but charging them for your cleaning time, you're charging them twice for maintenance, in a way.
  18. I completely agree with Scott. I feel like one of the reasons I feel ok mixing two booms and multiple wires while shooting the rehearsal is because each "easy" shot is practice towards the difficult ones. I like using two booms and grabbing off camera lines in case there's an intentional or even accidental overlap. Then we have it. And I use two booms so the off camera versions match sonically with what we record when that character is on camera. I feel like if I were to ask any producer or director if they wanted me to record the off camera lines or not, their decision would be pretty easy: record it. Why not? If editors want to steal a line or a word from the off camera versions and no one can tell that the actor wasn't given their "best"...then good on all of us. Where's the problem? Sometimes the off camera performances do sag as actors rest while not on camera, but sometimes that changes from line to line within a shot or take. I don't see a reason to over think it, just record it. Josh
  19. Hi Jon, Where did you find that silver handlebar (looks 19 inches)? Thanks, Josh
  20. Hey Eric, Since the productionsoundmixer.com is a domain name that I've registered, my "work" email is connected to that. I have some other email accounts for more personal use. I've been in touch with my web hosting company about the amount of spam I get, but as a preventative measure, I don't want to put it out there for all to see at first look. I don't feel quite the same way about my phone number. Maybe it's because spamming email is cheaper for bad business practices than spamming your phone, or maybe because do not call lists and cell phone blocked number options are more effective than white/black lists for email. If you head up to the top right corner, the lettering is actually two links: "productionsoundmixer.com" will take you to the home page and "+menu" will split the picture apart into a drop down menu. You'll find credits, a resume, a contact form and an interview there. Sorry, no games. Josh
  21. I've gone back and forth on that one, Eric. I may still put my phone number back in but I'm not comfortable with my email address being so readily available anymore. I'm already dealing with so much spam, I don't want to risk getting more. There is a contact form page but I think that's more of substitute for an email address. I'll probably put the phone number back in. I think it was on my last design. Good catch.
  22. Thanks guys. The photo in the weeds was one I took in the Brooklyn Navy Yards. I chose it for the front because I preferred putting one of my cart without my big head in the way. I realized that the few photos I have that I could use are shots of specific gear, or me from a specific job, or shots of my cart with an uninteresting background. When i was looking through the photos I have, I kept coming across two older pictures: one was a shot of an older sound cart of mine on the Brooklyn Bridge Water Taxi Pier with the Manhattan skyline in the background; and the other was a shot of the castle in Kalmer, Sweden. The problem with the first was that the cart in the picture is an outdated cart that I don't have anymore. And the second picture was from a vacation and has nothing to do with sound mixing. But I thought, if I had some interesting backgrounds, even if the cart itself was small and not featured, it would be a better photo. Parking the cart on a dirt road near the weeds at a partially defunct shipping yard certainly isn't the dirtiest place I've parked the sound cart. The backlight and wider angle helps to hide the layers of dust on some of the ledges of the cart. But it's not quite ready for the scrapyard yet, I hope. Thanks for all of the feedback. I appreciate it. Josh
  23. Thanks Jose and Jason. Jason, I've toyed around with different formats in my site and resume through the years. I've shifted the emphasis from feature films (which always seem more prestigious to me) to television shows (as that's where I have "bigger" and more recent credits). It's a tough, and self-examining, balance. Hey Pindrop, criticism is totally fine with me. I put the site up this morning and have re-uploaded a bunch of times to fine tune some formatting and to fix other errors, like spelling. I'm sure I'm still forgetting things that could be fixed. Thanks, Josh
  24. Hi jwsound-ers, I spent some time this weekend updating my website and wanted to give a one time mention of it here. I wasn't disappointed in how my last version looked, but it wasn't mobile friendly. I don't really think a single producer has looked at my site, but I try to keep it up to date so I can say "My resume? I'm on set and can email it to you later tonight, but you can also see it on my website." Though I know in reality, it's all about imdb at this point. You can find it here: www.productionsoundmixer.com Thanks, Josh
  25. But we couldn't get the rights to "Happy Birthday" so could you use something else. Or maybe just mouth something without making it too distinct and we'll add a song we can afford in Post. Happy Birthday!
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