Blas Kisic

As members of the local, we shouldn't accept that as a matter of course. Jim and his staff represent us, so that means that we should be able to hire and fire them, not the IATSE. Granted, I haven't reviewed the charter, but it certainly feels rotten. Cheers, BK

All the best, Jeff!

I had a letter from the network (Univisión, in this case) that stated my name, the name and duration of the project,vand the gear I was traveling with. Usually, a letter from any production company with a proper letterhead will do the trick. HTH

I had a letter from the network (Univisión, in this case) that stated my name, the name and duration of the project,vand the gear I was traveling with. Usually, a letter from any production company with a proper letterhead will do the trick. HTH.

I just flew AA LAX-MIA and, with a letter from prod. com., the first leg was free (4 bags). But on the way back they dinged me $50 for the 4th bag. Looks like the lady at LAX just made a mistake in my favor...

Done

Thanks, Whitney. That's what I was afraid to hear… Hopefully it's not a big job. Cheers, BK

I've looked for this on Google and on JW, and have come up emptyhanded. I have a block 22 411 which has, so far, served me very well. Unfortunately, though, I noticed a few days ago that, after I turn on its transmitter (an UM400,) the signal strength doesn't even light up. For whatever reason I decided to touch the 411 antennae with the UM's antenna, and then it lights up with full strength. The wireless signal works fine during filming, in any case. Any troubleshooting ideas would be greatly appreciated. Thanks in advance, BK

My first mixing job was as a staffer in a production company that made a weekly travel show for a Spanish-language network. Even though production got comped on travel, lodging and some of the meals, I had a decent salary (the gear belonged to production.) What's so different today?! BK

I was about to post that one, Angelo. Unbelievable… I interviewed for a travel show a couple of years ago, where the conditions were similar. They were happy to benefit from my ability to speak four languages, and my three passports (which made me easy to travel, and an asset to the production) but they had an "all-in" rate of -get this- $500 _PER SHOW_. So, naturally, I asked how many shows were shot in, say, a week; and she said "two to three". When I balked (because, you know, I do have to feed my family) she explained that the mixers they usually hire consider the gig a "paid vacation." It just never ceases to amaze me… BK

I don't know, Mike. I attended an impromptu lunchtime meetup at the Santa Monica airport a few months back, called by Chris Howland. About an hour into the gathering, with some seven mixers in attendance, a phone call suddenly became four days that three mixers split between them on the spot. BK

I emailed them, with some of the same questions, basically "I'm just curious, why you're doing it that way" - predictably, no answer. Few things are worse than a clueless hipster… BK

Please tell me that one's a joke… BK

We don't disagree, Robert. I'm all for trying to have open communication and following up as much as possible with post. BK

Great initiative, Michael! Sadly, I can't imitate you at the moment –for obvious financial reasons– but hopefully next year. Happy holidays, BK

I don't believe a producer –or whoever might have hired me– would use the words "scratch track" expecting a final mix or broadcast-quality sound. Thus, if I'm asked to provide a "scratch track" then that's what I provide. However, if I'm asked to provide a proper mix to the camera, that would lead to a discussion to make sure I know what exactly they need, and a plan to achieve it. In my experience –so far– the only times that's happened has been in interview settings, in which I've fed cable to camera. Otherwise, it's been understood by all involved that the scratch track was just for reference - and it has been noted as such in sound reports. OTOH, I did a four-day shoot recently (with the RED Epic, The Best Camera) in which the DIT never once synched my files with the camera files, even though he was actually busy maybe 20% of the time. I thought it would be a very efficient use of his time –not to mention a great way to ensure everything works as it should– if he took the five minutes it takes to synch the files every day. So, many moving parts and, apparently, not all members of the crew at the same level of proficiency/excellence/expectations… BK

Which is why I don't provide anything better than a mono Comtek feed when sending wireless audio to camera. Why contribute to the problem? To answer the OP's question, though, I've started getting in touch with Post right after the gig and make sure I talk to the AE or the editor and let them know that they shoould have the master files. When they can't give them the contact info, I talk to the DIT and the PM and impress upon them what I'm delivering, so there's at least somewhat of a record of my work. Also, sound reports that state what was done are helpful to paint you under a favorable light, hence minimizing the chance of being blamed for bad sound. HTH, BK

Very sad news. My sincere condolences to his family and friends. BK

I'd like to express my sincere gratitude to Jeff Wexler for creating this group, as well as to the senior members (too many to name) who have shared their experiences on this page. My knowledge and skills have definitely improved thanks to the contributions of each one of you. Cheers! BK

Well, here's a feel-good gem: http://losangeles.craigslist.org/lac/cwg/4217916262.html It's a reply to a request for a DP. Here's a screen shot:

Thanks so much for posting this, John. Great insight on Lee's (and John Coffey's) career. BK

I don't even know why I keep roaming the seedy halls of CL, but anyway… http://losangeles.craigslist.org/lac/cwg/4204456264.html "We're looking for an AC with a nice camera package at an affordable rate next Tuesday, Nov 25th. The project is a pitch video for a feature. In our crazy dreams, we're hoping to find an AC with a red epic for $500 for the day. Obviously, that's wishful thinking, so get back to me with what you can offer." So, once again, here's this insidious obsession with gear, rather than skill - but, never mind that. On the one hand, they recognize that good gear costs money. But these assholes, who understand that it'd be a miracle (as it should) to get an AC with a decent camera package for $500, don't think twice about offering $200 (if we're lucky!) for a sound mixer who will, very likely, bring in more expensive gear to the shoot. It drives me BANANAS…

Thanks, Matt. That's pretty exciting news. I'll have to dive into the manual to check out all the capabilities. Cheers, BK <"we will need a bigger CF card…">

Well, Mr Smartypants, I _am_ trying to read it here on JWSoundgroup, but… guess what? There's no mention about my specific question anywhere here or on SD fora. Especially considering this is a days-old firmware. I think it's a legitimate question (stupid though it may be…) BK

So, it _doesn't_ record 12 ISO channels, correct? I mean, I get that it replaces the CL6, but I still only have 6 ISO channels - that was my main concern. TIA, BK