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Chris Thueson

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Everything posted by Chris Thueson

  1. Have you thought about putting a boom and mic on a sand-bagged C-stand? That's what a lot of us do for one-man-band interview stuff, I don't see why it can't work for what you're doing as long as you don't need to do a lot of walking around and changing frame. It gets the mic far away from the camera and operator noise and much closer to your subject so you can capture those poetic nuances. Just food for thought, I wish I'd thought about it when I was debating what on-camera mic to get years ago. The short of it is, any on camera mic will be serviceable if you're careful not to make make noise yourself, but getting a mono mic close to your subject and away from the camera is almost always the best option. That's what most of us here are paid to do and that's why it often sounds so much better. Sent from my iPhone using Tapatalk
  2. Hmm, I was going to say that I don't think that model of Rycote blimp existed in the 90s. I'm a nerd, but not a Dr Who nerd, so I'm at a loss for what everyone else is getting at. Sent from my iPhone using Tapatalk
  3. I've been trying to find the best option myself over the past year or so, so I'll share my firsthand experiences. I've tried the super shield. I feel the basket is still too long for the 50 on the shortest model. I also didn't like the suspension clips, in my humble opinion they just don't fit quite right on the 50. I've also used the Cinela Leonard and Rycote BBG variants and didn't find them sufficient for the wind I deal with at the beach or out in the desert. I finally followed Sharman's advice and bit the bullet on a Rycote WS2 and it has been the best option so far, though I'll throw the Rycote softie on when the wind is light and I know I'll be transitioning indoor and outdoor and want to keep the weight down. Now I'm looking to get a high wind felt cover as I still haven't eliminated all of the wind, a particularly windy ridge line out in Malibu pushed the WS2 to its limits with the standard furry windscreen. Another little tip which Cinela packs in with their wind screen, you can tape over the low cut and pad switches to keep some of the wind from entering the rear of the mic body. Good luck, hope this helps.
  4. I've had this problem. My 50 is less than a year old. I noticed it in a quiet scene as well, so I swapped out to a 416 because that's all I had as an alternative and the problem seemed to be gone. I listened again once the crew and the lights were gone, swapped cables, and the noise was still there. Must be ghosts.
  5. The production mixer for most of the AFI films is Fred Schultz. I've boomed for him. He does an excellent job of (politely!) teaching students the way it's supposed to be when they hire, work with, and pay a mixer in the real world.
  6. I received permission from the Patton family to publish this text here. Thank you all for your patience (especially you Mike!), I've restored the link above. Marc, aside from all of the wonderful lessons I've learned here at JW Sound, I have to agree that the first chapter of Richard's book was an eye opener for me, especially when new to the business. I highly recommend people pick this book up as it is an all-around enjoyable read that taught me a thing or two about the how and why with a great mix of school-of-hard-knocks explanations that I probably would never have even thought to bring up here on the forum. I think I'll be following up with those confirmation emails, thanks for the tip!
  7. I've e-mailed Richard's son who owns the rights to the book and he politely stated that the point of the book was never to make money, but to share his father's story and insights into the industry and to help others along the way. I've sent him a written request to publish the deal memo here at JW and will do so once the permissions have been signed and returned to me.
  8. I had my reservations because of the copyright and I figured it would be a tricky situation. The book was published by Location Sound ltd of Vancouver, Rick's former business, which has since been acquired by Trew. I just called Trew of Vancouver and learned that Rick's son now hold's the rights to the book and they were kind enough to supply me with his e-mail address. I'd rather not step on toes and go about this the right way, especially since I love and respect the book. I'll take the link down momentarily as I clear this up. Jay, your books are my other favorites. I will keep you posted about hosting the memo and I'll make a request of that to Patton's family if you don't mind. Thanks all, Chris
  9. I've been working on making myself a proper deal memo. In my searches throughout the forum and other sources, I realized that Richard Patton's excellent sample deal memo found in "Sound Man" is, to my knowledge, nowhere to be found online. I typed it up nearly verbatim and edited the parts that were Canadian to make them applicable to a US mixer. I cleared it with Jeff to post it here as a reference for the rest of you. Richard Patton's Sound Mixer deal memo: https://docs.google.com/document/d/1pQRje05CCPElxdVJuxQOo50n-wIrlbPzGCZ8xJDyDHE/edit?usp=sharing Please note, I have obtained permission from the copyright owner to publish this text here. This text is intended for informational purposes and may be shared freely within the sound mixer community and for the greater good, but may not be used or republished for personal or monetary gain aside from use as a deal memo for services rendered. This is at the the request of the Patton estate. Please be respectful! If anyone would like a PDF copy to host in a more permanent location, or if you notice any errors with the document, please let me know. My hope is that this will help those, especially newer mixers like myself, looking for a deal memo tailored to the sound mixer profession. Richard Patton's article (also found in his book) detailing the importance of a deal memo can be read here: http://www.trewaudio.com/audioflow/doing-a-deal/ I noticed that the PDF memo attached to the article on Trew's site is not the deal memo found in the book, which prompted me to type this memo up because I feel it is more specific and beneficial to sound mixers, especially in regards to gear and rates. You can purchase Sound Man here: http://www.trewaudio.com/store/Sound-Man-An-Introduction-to-the-Art-Science-and-Business-of-Location-Sound-by-Richard-Patton.html?page=1 I highly recommend this book to anyone looking for an excellent account of working in the business, freelance or otherwise.
  10. Do you by chance use the Petrol 617 bag? I normally use the 1/4", but I ran a duplex cable for a boom op and utilized the the 1/8" for my own cans this week and noticed that the bag divider presses on the headphone cable while I'm wearing the 617 with my harness. Just emailed Petrol to see if they have any suggestions. I'm using HD-25s with a right angle connector which unfortunately doesn't have enough clearance.
  11. I'm trying out Turbo Tax as a first-time freelancer. A little snag - do I file under the code for Audio Recording Industries or Motion Picture Industries? Motion Picture seems to make more sense, but we are sound recorders working in "other sound recording industries". Thanks for the help! Sound recording industries(512200) "Record Production, Integrated Record Production/Distribution, Music Publishers, Sound Recording Studios, Other Sound Recording Industries" Motion picture & video industries (except video rental)(512100) "Motion Picture and Video Production, Motion Picture and Video Distribution, Motion Picture Theaters (except Drive-Ins), Drive-In Motion Picture Theaters, Teleproduction and Other Postproduction Services, Other Motion Picture and Video Industries"
  12. If The Hobbit taught me anything this year, it's that you'll still have to worry about shadows when cloaked.
  13. Anyone know what this is all about? http://losangeles.craigslist.org/lac/tfr/3580767798.html CL > los angeles > central LA > all jobs > tv/film/video/radio jobs Reply qfbcm-3580767798@job.craigslist.org [?] flag [?] : miscategorized prohibited spam best of Posted: 2013-01-29, 4:13PM PST Experienced Production Sound Mixers/Boom Operators Wanted (Los Angeles Area) L.A. based production sound mixers/boom operators wanted who are familiar working with Sound Devices gear on reality tv, film, playback and ENG (one-man band) style shoots. Equipment provided. Rates vary. Positive and professional attitude is a must. Highly skilled in signal flow is a bonus. This position is for someone who loves working with audio and would like to be part of a dynamic, growing team. Send resume or work experience *LA based *Must have dependable transportation Location: Los Angeles Area Compensation: Rates vary from project to project Principals only. Recruiters, please don't contact this job poster. Please, no phone calls about this job! Please do not contact job poster about other services, products or commercial interests. Posting ID: 3580767798 Posted: 2013-01-29, 4:13PM PST Edited: 2013-01-29, 4:13PM PST
  14. On that note, bring extra socks too. Hot and sweaty or wet feet can ruin your day.
  15. Some of these have been mentioned, but this is my personal short list: - 3M Transpore tape - White paper tape: I use this to slap a non-permanent, non-damaging label on something if needed - Gaffer's tape: Great for taping something up that needs to stay stuck all day. Be careful using it on painted surfaces, I've even pulled up floor boards removing gaff tape that was stuck for a few days - Small Scissors: I use these a lot, easily overlooked - Headlamp: The Rayovac heavy duty is cheap and very bright, around $15 at Home Depot. You might be able to find it online. Only two brightness settings is great, I hate the lamps that have 10 different settings. - Gloves: I like the $4 Gorilla Grip gloves for wrapping cable. They keep my hands clean, cool, and retain a lot of dexterity. I can stuff them in a pocket and it's not too big of deal if I lose them. - Sharpie: everyone on set should have at least one of these - Safety pins - Top-stick - Caribiners - Velcro ties - Multitool, Screwdrivers, adjustable wrench, allen wrenches A lot of people like to use Procell AA batteries, but I keep a set of NimH rechargeable AA's and a charger on me. I just don't like throwing a bunch of batteries away at the end of the day, even if production is paying for them. Aside from the batteries, you could probably get all the other stuff for less than $50US total. AC bags are expensive, you can get something similar for a few dollars at a hardware store. Good call on the multimeter too!
  16. I agree, discuss with post. However, are day folders typical for recorders with less storage space? I would have thought cards are backed up and formatted each day. Also, in what instance is the full file structure of SD recorders needed or used? I too am transitioning to the 664/SD recorder workflow.
  17. Agreed. Info like this is extremely valuable for newer guys figuring things out. I want to help my community of fellow mixers as much as I help myself, and rates and "No" discussions do just that. After a weekend of long hours with very little pay, I've been prompted to write myself a memo with talking points for when I get a call and need to make sure I'm not agreeing to things that undervalue my skills, my time, and my gear rental. I'm sure it will become more practiced and second nature over time. I also revisited the rates thread, http://jwsoundgroup.net/index.php?/topic/11614-rates/page-2 , as well as few other discussions about rates. I know many of you learned from experience the hard way, I appreciate you sharing those experiences. Now the biggest quandary is getting to the point where saying "no" doesn't mean late rent and missed student loan payments, which is always a looming reality at the front of my mind being a newer mixer with a very small network. I've worked with a few great producers who paid me what I'm worth no questions asked, but then I've worked with just as many who'd have me work for free if they could talk me into it. I feel much better prepared every time I see a thread like this. I just wanted to say thanks to Chris for posting this discussion, and everyone else at JW for providing me (and the rest of the world) with so much good advice, especially those of us with fledgling careers striving to do the right thing by climbing out of the "greenhorn" market. It's certainly easier said than done when you're still getting your legs.
  18. Coffey told me they've been getting in about 5 per week, I got mine just before Christmas. I put my preorder in shortly after it was announced.
  19. If you're in LA, the Japanese/Asian gadget stores (they usually sell action figures and bath and beauty items) have small two-sided clam shell boxes that are similar to the Trew boxes, but they've got a bit more room for the COS-11 and they stay closed much better. They're only 2 or 3 dollars to boot. You can get them in a few different sizes and colors too. That said, it would be nice to have a larger box for numerous lavs, but I like having the small box of accessories and a spare lav in my bag. That filter bag and countryman wallet both look like excellent space-saving solutions for multiple lavs.
  20. I'm going to have to check this out! I moved to LA a year ago and it's been hard to find anything but hoppy ales. Southern California sure loves its IPA. One of my favorite winter brews is a dopplebock brewed in my home town of Missoula, Montana. Sweet, dark, thick and toasty. A high alcohol content to keep the cheeks rosy after a blustery day in the mountains. I took this picture when I found it carried at PCC in Seattle over Thanksgiving. It's hard to find outside of Montana. Anyone know of any good dark or amber beers brewed in Cali?
  21. Interesting, I noticed Sally's lav as well. While I did enjoy the performances, the sound, and the cinematography, I did not enjoy the movie. Hats off to the crew, but the writing was dense and the scenes were hollow for me. Oh, saw the vampire Lincoln too. Worst of 2012 in my opinion.
  22. Ha... I actually applied to this and just discovered your posting it here. I interviewed, but he decided to go with a more "well versed" boom op.
  23. As a one-man-band I've been using the Sound Report app if nothing more than to keep my file numbers and takes straight. I just advance the take or scene after a cut and I make a quick note if needed. The app allowed me to make a custom filename that matches my recorder and it automatically advances. I send production a PDF at the end of the day and it's really easy to use with very little effort after it's set up. Not so surprisingly, people new to the business don't seem to appreciate it all that much and I too wonder if I'm setting some sort of precedent. While it's certainly easier than writing on paper as a one-man operation using a cheap recorder with no TC or meta, I haven't been so much as thanked for a report yet. If anything, I was asked why there were a few missing takes from a report on a hectic day on a low budget feature. Despite the lack of enthusiasm for my reports, I continue to use the app so that I'm well practiced for when I work on projects with bigger budgets. I really want to get in touch with editors from past projects and find out how helpful the report is to them, especially on shoots that don't have a scripty or 2nd AC.
  24. Marc - John Coffey's letter is an excellent read, don't know how I'd missed this. I wish I'd had it on hand for past projects. I'm currently reading "Sound Man" recommended to me by Ryan at Coffey, and I see you've recommended it on many occasions too. The first chapter on the deal memo is indeed a great read and I'm learning as much in the latter chapters as I am enjoying his stories from the field. I'm much in the same boat as Brian, mixing low budget on the side and learning and reading on the off days. Not sure how much you visit our local usual suspects, but I was at the Coffey Klatch the other day meet a few prominent people from these forums. I'd say that's a good place to start and get to meet people. I believe they have lunch events every Friday, though I found out about the Lectrosonics event by visiting the store. They also have a mailing list you can sign up for on the website. I hear about LSC events by following their Facebook page, but admittedly I haven't been to any of their events yet. I'm finding everyone's suggestions to Brian very helpful as well, especially suggestions that are LA specific. Just wanted to say thanks to everyone for their advice thus far.
  25. I have found that if I go on lunch and forget to exit out of the project back to the home screen, sometimes the app will close due to inactivity and I will lose all of my data up until the last time I closed the project. I've lost a few half days this way and had to fix them in the evening.
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