mulluysavage

What's your technique for tweaking phase in post? Sent from my iPad using Tapatalk

If anyone has one in NYC, I'd be interested in renting it for a classical performance im recording on 12/10.

That's pretty clear, I wonder why I thought it could only do 2 from external, maybe it was the 70? Anyway, thanks for clearing that up.

Yes 4 inputs, yes 4 sources, but the specs say you can record two tracks plus the built-ins. Are you sure you can record 4 tracks from external sources? Does it say that somewhere in the specs? Does someone have first-hand experience?

It records only 2 channels of audio from external sources, correct? The other 2 tracks can only record built-in mics I think. So you could do one channel TC and one audio. Time code to audio track Final Cut- Yes Avid - Yes Premiere - No

I had tried BNC coax one time with no good results. Next time I'll try removing the jacket and braid!

When can I take off my bag and just carry an ipad? Sign me up. Sent from my iPad using Tapatalk

What is the name of the rycote mic mount?

Can you explain further why you use mic level on inputs 1-3 on the 633? I use line, which does work for me, but I'd like to understand better. Does your principle also apply to the 664?

Larry should we use magic silver paste for cleaning these areas or something else? (There is such a tiny amount of Ag paste in the tiny tube I have.)

I have encountered the VER spectre the same way, and asked to see the quote. Unfortunately, that number does not surprise me. I like to emphasize that there is value added when hiring an owner-operator. We know the gear config inside-out, maintain it, and have the best. I've mostly encountered VER on reality. The quality standards are so low that they are often 'fine' with not hiring owner-ops. There is a market where owner-ops are valued, and I'd say that we should keep selling the real value that we deliver.

Sound stages? Ok, now the thread has devolved I always figured there's more competition in LA and more undercutting happens. Thanks to those who said that what your package contents and your rental rates are an integrated issue. The thread starter posed another important aspect of the issue: how do you ask? I get to know my clients and work it out over time. Here's what I do: My jobs are mostly bag jobs lasting 1-3 days. Upon request to hold days, get enough details to recommend a kit for the job that will work and give an accurate price quote. Start with a "minimum kit" (I don't say "basic", I think that devalues the kit, rather, this is the minimum I will go out with/ minimum charge.) If they need items over the minimum, give a la carte quotes for each item, and the new total. Indicate that these items can be ordered a la carte but that I need to know in advance. Only agree to hold for a certain rate/rental cost. Minimum: SD 633, 2 wireless lavs, wired boom, wired to camera. Send email confirming hold, with what gear I am bringing and the total charge for the day. Attach rate card with contents of minimum kit written out completely, minimum kit price, and a la carte prices. A la carte items: Additional wireless lavs, wireless hops to camera, time code slate, lock boxes, IFB transmitter and receivers for headsets. Bring extra items on the job that I suspect they might possibly need. This applies only if they aren't rented on other jobs. If they are called for, or if I think the production would benefit from them, offer them for a rental. If anyone from the AC to the EIC says "we should really have...", say, "I would love to provide you with that, the rental is X." Team up with them to try to add it for a rental- send them to the PM. On the first job with the client, maybe let them have an item for free if they can't approve new budget on the spot. I'm more likely to do this for time code device rather than other items, which are widely understood to be a la carte add-ons (see time code slate thread.) Itemize all a la carte items on invoice, with item I didn't charge for indicated with it's price and a 100% discount. Next time the client calls, mention what we needed last time, and the rental rates. Indicate that I would really like to provide them with what they need. Mention what I provided last time, and that I am renting them all items only at full price this time. Go back to step 1 and hold for certain gear at a certain rate/rental and repeat. I have at least one client who says "this is the budget." I ask for shoot details, and say, "then this is your kit," (never below the minimum) and recommend what they can and can't get away with for gear, and let them know the limitations very clearly. I may recommend strongly that they have other items that are not budgeted for, and ask if they are sure that they can't budget for those items. Don't bring too many extra items, why carry them, why be tempted to pull them out, when it's highly unlikely I can charge for them? I know I can't add rental day-of, so I am firm with people on set, and say "we don't have that item, it's not in the budget." Happily refer them to the PM to insist on the item for the rental as above. I have other clients for whom I know I can bill for any a la carte item I feel I need to pull out of my kit to get the job done. Good times. This system works well for my business, I think one would need to adopt a different strategy if they are on jobs lasting much longer.

Oh wait I know this! The Amira? I hope the Amira crushes the market over these tinker-toy contraptions. They do the job, they're just silly. I worked with an Amira and they are set up great for audio.

Remember, capitalism creates through consumer choice the most efficient system. See video format wars. Our truly free market is upheld by a fierce commitment to freedom of speech. /sarcasm [ducking]

Ugly. http://deadline.com/2014/08/padma-lakshmi-boston-teamsters-attack-top-chef-820137/ Boo Bravo. Boo Magical Elves. Boo Teamsters.

You could rent them an IFB headset for a scriptie to take notes on their laptop with. I do many doc-style jobs where we do this and someone plays this role- producer, AP, PA.

Here's a chart with EBU and SMTPE digital scales.

Note that this chart shows a European digital scale. SMPTE/US installations use +24 dBu for 0 dBFS, with 0dBu at -20 dBFS. Matt's numbers/664 numbers are on this US scale. If you are looking at Vaselio's chart, Matt's numbers do not correspond.

Re: stupidity. Is it possible, when you say there are many ways to skin the cat, that some solutions work better for some people in some situations than others? Does it depend? Could it be subjective? Also, on my 6 series you can still record manually in auto-triggered mode.

Was there a significant audio signal level being transmitted during the run time or were they left somewhere to run in a silent condition?

I've worked with a nano and a pix hanging off the back of an f5 in a doc-style hand-held situation, and it's a difficult reach for an op to get back there when it's suddenly time to roll, versus hitting a thumb trigger. One work-around is to set up a transmitter on the camera, sending time code back to me, and go ext-tc auto-rec on my 664 or 663. I also get an audible notification when the op rolls, which is nice.

I charge for my lock boxes. If they don't want to pay for them, see the AE argument. It's not a big rental, so I it's not a big deal for me to let people pay for it in post if they choose to do so. But I don't simply add on equipment for free. I don't like it when other sound mixers give away gear for free either, as it fosters expectations. Let them complain, it's just noise. If they can see the truth, that it doesn't cost them, it saves them, the logical thing to do is pay the rental on them. I don't stress about it.

I can hear an appreciable difference with a schoeps 6/41 with a foam screen. Do others have this experience? I wonder if I got a knockoff foamie with my used purchase.

I'll do them for $29, send them along. Satisfaction guarantee or absolutely, positively no money back.

101.