PhforAndAfter

Perfect response! I hope you said as much to him. Sent from my SCH-I545 using Tapatalk

But in all seriousness, thanks both of you for clearing that up. I'm looking forward to moving to LA and really trying this sound thing out for real!

I just bought a couple of these for my bag. I power them from the USB port in my BDS, instant bag light with a half-decent gooseneck!

OK, question for you union gents - I'm living in Boston with an ENG-based full-time Sound Mixing position at a tiny production company. I've been doing this job for about a year, with about 2-3 years of freelance (read: teaching myself) sound experience prior. It doesn't pay great, and most of the work is pretty down and dirty - live hits, news, some reality, but mostly corporate. So, I still have LOTS to learn. However! When I move to LA in a year or so, should I immediately apply to Local 695? I would hope that having just come from a full-time sound mixing job will make my application go more smoothly than if I try and freelance for some time prior to submitting my application. I want to get right into Sound Utility work, but I feel like coming from the ENG world, I may not be immediately ready for Union membership in terms of experience on higher-budget stuff. Basically, I'll still be looking to learn. Thanks for any opinions. I know most guys are coming from freelance, so I wasn't sure how a staff job would change things while applying for the union. I'm still about a year out, so I'm sure I'll contact the union when the time draws closer to get a real handle on things.

I'm not super experienced, but I have done this before (not in a convertible) with two hidden countrymans on the actors and two Oktava 012s mounted on the center console. For a convertible I would've tried the same with Baby Ball Gags/windjammers. I removed all keys from the keychain, and made sure the AC was off. Wish I had the gear to do it the way Wandering Ear did! I just got creative with some shock mounts and gaff tape. If it's a tight shot, sticking mics directly to the seat-belt may be a good option (as long as you politely make sure the actors won't tear the thing right off). May be time to invest in a CUB.

This is great! Loved the movie, as well. Tons of inventive energy.

I'll add a +1 to half-sized NP-1's. Sometimes jobs call for as small and light a bag as possible. I have a Petrol PS607 Deca bag for run & gun gigs, and the one thing that's hard to fit in there is the NP-1.

http://www.threadless.com/product/844/Spoilt You're welcome

This sounds terrifying. Good luck!

That's awesome, and I dig the sound design. I loved watching that gopro bite it at the 3:35 mark!

No, no, I do understand, and I'm not missing the point. I get what you're saying 100%, I'm just commenting on my own personal experience as a 'new guy,' as it relates. I don't think I'm part of the problem, since, as I said, I'm not working pro-level shows. I'm sorry if my posts weren't entirely clear - I wasn't trying to debate you, as I don't have enough experience to really comment on the phenomenon. I'm sure you're right, as you'd know better than I, and I hope that it doesn't end up hurting me, or anyone in the field, later on in our careers. Just felt the urge to comment, is all.

Well, like I said, I don't believe that I'm cannibalizing 'pro rates', since I very rarely work shows that pay them, at my level. But since I'm non-union and broke, I've gotta start somewhere! I'm sure you guys did, too. Hopefully producers understand that you get what you pay for. I've been doing this for about a year and a half now, and I've been steadily making more per job as I gain experience and connections in the local scene. Hopefully that continues until I'm making what you guys are! But people who hire me know that I'm not union, and that I don't own all of my own equipment, so I'm not asking top dollar. Not to say that I'm bad at my job (I think I do pretty damn well), but I'm certainly still working my way up.

As one of those mid-level sound guys, who is still learning and slowly accruing equipment, I sure as hell appreciate anyone who's willing to pay me anything over $250/day. But by the time I can supply most-to-all sound equipment to a production, I'd better be making more than that! But I'm not working many 'professional' gigs, yet. I can certainly understand why that would be frustrating for those of you who have been doing this professionally for years. Still, I gotta pay my rent on time.