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Martin Kittappa

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About Martin Kittappa

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    Martin Kittappa, (The world is my soundstage)

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    Los Angeles
  • About
    I'm a production sound mixer with 10 years experience, been blessed to have worked all over the world on a variety of different types of shows from Documentary, reality, drama and anything else. I love to travel and enjoy problem solving. You can see my full info at my web page www.mkittappa.com

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  1. So not exactly a sound enquiry- I have a good friend who's looking to rent a small Arri light interview package in Greensboro Or Winston Salem NC for a small corporate shoot. Just wondering if anyone has any leads I can send his way, thanks.
  2. Yeah it does seem messed up that clients want to push all the additional insurance (Workers Comp, Liability and L&D), that they should be providing onto me. I spoke with the client and asked if there is any way I could deal with him directly, but he says his hands are tied as his higher ups will only allow him to hire crews from Crew Connection because they believe CC ensures that the crews are vetted for their quality and professionalism. He did let it slip to me that because CC deals with all the liability and insurance issues, they don't have to foot that bill. I don't think he realized
  3. Has anyone had any experience with crewing agencies like 'Crew Connection' The reason I ask is that I have contacted by a potential client who wants to hire me for a corporate gig, but for reasons I'm unclear about, he says that he has to hire me and pay me through Crew Connection. At first I thought fine and so I called up crew connection, but they will only add me to their database if I set myself as company and provide my own liability and workers comp insurance, and they will also take a 15% 'finders fee' from my day rate and gear rental. In the past all this kind of insurance has been co
  4. Simultaneously shooting movies whist fighting climate change!
  5. I keep a couple of Sony ECM 77s for situations where I cannot use a wireless mic for whatever reason, I don't use them very often as like Mike says modern wireless RM systems have a great many advantages over hardwire. However if the location you are working in prohibits you from using wireless mics then you have to work with alternatives. I did a shoot on a commercial airliner in flight and the airline was not about to clear me any frequencies to use. I couldn't get boom up in that situation either. Hard wired lavs were the only way to go.
  6. There is a petition on Change.org addressed to the Wayne County Sheriff urging him to deny Millers request, http://www.change.org/p/object-to-randall-miller-s-motion-for-early-release-from-prison
  7. Bad spelling, an app that will make you rich sounds interesting....but on second thoughts I don't need the $250 he's paying for a sound guy to help promote his services as I'm about to get a $35,364,000 payout from a Nigerian prince and retire from working altogether.
  8. Staff me up used to be really good when it was known as realitystaff, but it got taken over it went downhill. Now it's become a place for productions to find the lowest cost labor. I was talking to producer friend who called me up. I've worked with him many times and he was brutally honest with me about how it all goes down in these doc-reality type productions. The conversation went something like this. I really want to bring you onto a shoot I'm working on, it's in the middle of nowhere in South Dakota, but the money people won't let me hire you unless you can work as a local. If they can'
  9. On these little day gigs the DIT is often the AC dumping onto a Lacie rugged drive using a production coordinators macbook. If they are shooting on Red or any proprietary media format camera they often don't have a card reader, mostly because no-one figured out who's responsibility it was to bring it. The way I see it is if I have a card reader then I get kudos points for saving the shoot, especially if the BTS guy shooting on his Canon 5D ends up having to use my card reader as well. Being the guy who saved their production for the cost of a $25 card reader means I'll be top of their hiring l
  10. Thanks for the link Jeff- They also have another one that is part of the same series- I found the link to that one too.
  11. For all our sports camera friends out there. 11789274_870162073069574_921841507_n.mp4 Hmm seems not to be displaying correctly I added the direct YouTube link - jw
  12. I don't own a truck or a van, so I always drive my equipment to set in my car. I often find that it is a huge fight to have my car considered to be included in the transportation footprint. There's always a space for the grip truck, camera vehicle (which is sometimes a car) and other trucks and vans. I always ask to have my car included in the footprint, but it is hit and miss as to whether it happens on the day. The frustrating thing is when they make you download to location then make make you drive to crew parking and shuttle back to location, then at the the end of the day, have break dow
  13. Normally I'd leave any lavs that are off camera recording an iso, but I will usually instruct my boom operator to only mic the talent that is on camera. The reason is that often there is non verbal communication going on when the on screen talent isn't actually delivering a line- the sound of a sigh, the way someone breathes or taps the surface a table. There is a myriad of audio that is not dialogue that might add to the story, or show the emotion of a character. If these actions are on camera and create noise then I want to be sure to capture it. These actions may be performed by the on sc
  14. A Comtek instead of the G3 would solve the problem of the volume control for the producer as it has a volume control that is easily accessible and is also the industry standard. Having said that I used G2s in exactly the same way back in my early days before I acquired all the gizmos that I own now. Apart from the volume control issue it worked fine for the job.
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