syncsound

I do a single rate for labor, and then 3 tiers for kit: single system, simple double system (i.e. talking head interview w 5D), and full double system. Since I bounce around between reality, corporate and episodic/indie work, this covers the bases.

How deep are they burying the TXs?

I've also had good luck using the mono mic 3.5 mm output. You need to crank the gain on the comtek tx a bit, but it works.

Hey Tyler, any chance of an android version?

I work mainly out of a bag rig on a rock'n'roller cart, with a Petrol roller gear bag, two booms, two soft cases, a Pelican, and two camping chairs. All of this will fit (cart collapsed) into the back of my Subaru Forester with the back seats laid out flat (though, with some packing-fu, I can leave one seat up and take both a boom and utility with me). Once upon a time, I used to fit all of that into a 2005 Kia Sepia, since the cart would fit into a trunk.

I do the same as John mentioned above. My rate even for smaller jobs includes enough overhead for expendables.

Plus one on autotune.

Ah. The pic didn't load for me. I've had good luck with camera bags for small gear kits.

How many IFBs? I ended up getting a Pelican that holds my ( Comteks. In addition to protecting them on set if flies well.

Any idea when Android version might be available? And thanks again for making our lives MUCH easier!

Regarding the "PAs yelling 'Rolling!'": I actually appreciate that. Inevitably, whenever they aren't calling cuts and rolls, transpo fires up a truck, grips drop something heavy, people take calls, etc. When things get a bit spread out on location, letting everyone know that we're rolling becomes more critical.

Plus 1 for Android and FreqFinder.

I recently had a similar conversation with a repeat client: HIM I've tried to work with other mixers that charge less, and they can't deliver. But I can't justify your rates. ME (internal VO) You just did. We worked it out, but sheesh...

Though, for some productions, old-school carbons are still the way to go (white to post, yellow to production, etc.).

I use soundcloud. You can make it a private file, they can do a preview stream online, and/or you can enable the file to be downloadable. I've sent 48k, 24 bit stereo WAVs to clients this way before, and it's worked out fine. It's tiered freemium, with the free level offereing 120 upload minutes. http://soundcloud.com/premium?ref=t025

From a practical perspective, it's worth nothing that with multiple, similar takes, Pluraleyes can get confused, since it's based upon waveform matching. If you have a consistent delivery from talent, the program won't be able to distinguish between closely-matched takes.

CARNET, CARNET, CARNET. Make sure it's covered. Even if the country you're traveling to doesn't require one, the US does upon return.

Also, check with camera and see if they can add a "cheeseplate" mount: http://www.ibeweb.com/product-news/matrix-cheese-plate-sony-canon-panasonic-and-red-cameras

If all sound chores are caught up, then it's Angry Birds.

I've worked for HGTV on several shows and they expect the DP to hire out the mixer, all invoice. Eventually I told the DP (good friend, upstanding guy) that I couldn't do the rates they offered anymore, and he understood. They were paying the same rates since 2005, which was $400/12, plus $150 kit, and I was expected to "grip" as well. Made my bones doing those shows, but it was time to move on.

There is a grip or two in town that loves to sneak up behind mixers, pull out a smart phone and turn on the "cricket" app, which is just a tone generator set to 15k or so. For some reason, watching sound mixers sit up freak out at the piercing chirp in funny...

I had pretty good luck with one of these: http://www.petrolbags.com/Sound-Bags?q=node/122 It's like a camera gear bag, but with neoprene pocket dividers to keep gear secured inside the bag, which has about an inch of padding all around. Also, the backpack setup is easy to haul. Maybe not so great for the flight, but an option once you're on the ground.

I've been delivering CF for a while now, and it's worked out well. On typical gigs (mainly 5D or RED), there's a wrangler on set that I hand-deliver the card to whenever it's requested (and unless they specify, I'll wait until end of day). Since they're copying the media right there, I get the card back immediately. As a CMA procedure, I then back up on an archive hard drive and zip the files. If they aren't requested after 6 months, I delete them. Also, last year I pulled the trigger on (2) 32 GB cards. I've been able to get through a 4-5 week indie feature without having to switch to the second card (1-4 tracks on a 744T).

http://goo.gl/sgaHG

Phil, From then on, I just made it a policy when I booked the gig that if the client insisted on wireless hop, then I insisted on camera wearing cans, no exceptions. It's worked well ever since.