Richard Ragon

Barry is funny.. http://www.cbs.com/collections/phils_diary/index.php?week=1&playvid=2#2 -Richard

Hows this? http://www.icehousepro.us/tcode/ http://www.one-n.com/bwftimecoder.html http://www.videotoolshed.com/?page=products&pID=26 -Richard

I found this.. http://www.denecke.com/Products/tcgenerators/tcgenerators.htm#SB3 Looks like Denecke has a 500 dollar lock box. Runs on 2 AA batteries, this might be the ticket for 6 cameras! What do you guys think about these? -Richard

Awesome.. We'll try the JAM to my recorder, and see how bad they drift after about 4 hours, then.. They haven't set a TC yet.. If this is set to go to TV, shouldn't it be 29.97? Or do these cams have something funny going on with a weird TC or weird frame rate?? Thanks!

I might be working on a Reality TV show, with several Sony PMW-EX3 XDCAM EX cameras. I'm wondering about TC syncing.. Does anyone have any experience working with TC on these? Right now the work flow is to set up a master camera, then the other cameras sync there TC via the master (A cam). Currently, I'm running sound (2 chan) to the Master. But, In the future, if I wanted to record tracks separate.. I'm thinking of also sync'ing with their TC. 1) Is it better to have all the cameras sync to the TC on my recorder? 2) Or should I set up my recorder as the slave, and also use the master cam? 3) If we free run any of these? Will they go out of sync, or have sync issues? Can we set everything at 29.97? 4) Would it be better to do a master sync equipment, and sync to that? Thanks everyone.. -Richard

.. fools I have just worked with.. This about sums it up sometimes. Ok, I'll just have to learn to keep my mouth shut, as this is NOT school, and a general consensis is that no one wants to hear anything from the "sound guy" who never produced anything!!

I have a quick question about criticism in regards to 'our' position in the film industry. Specifically, criticism on a project that you may have worked on. Over the years I've seam to have found that criticism is a double edge sword. On one hand, I myself welcome criticism.. As a learning film maker myself, I find that I personally can always improve, and criticism from experts in the field can really come in handy for learning, and growing.. On the other hand, were talking art here. And criticism can be both a blow to ones ego, and looked at with some, as insult. Yes, I do understand that a 'maverick' film maker can bend the rules a bit, but not without knowing why the rules are their in the first place. The rules are not set by the Hollywood 'establishment'.. they are set by the general public of which view your films. The 168 parallel, establishing master shots, and 'save the cat', are rules too which the viewing public needs to establish certain parameters in their minds to understand and comprehend your story and its characters. Personally, when someone suggest how I can improve, at first I become a little bit defensive.. but I have to keep telling myself, that it's not a personal attack, but just someones comments on my work as a way to help me out.. So, I keep an open mind, keep those thoughts in the back of my head, and move onward with those words of wisdom from one of my peers, especially when that peer is considered an expert in the field. All professionals in this business, be it crew, producers, or actors all have one thing in common, the desire to make movies or be part of that process. And Hollywood looks to it's own first I thought, before sending that work out into the open. But, I believe that thing that separates good film makers from bad film makers is whether they listen (and take heed) to comments and suggestions from their peers. Those that don't eventually just blame the environment too which is Hollywood as the source of all their problems. Unfortunately, I've made the mistake of commenting on a few films, both ones that I've worked on and not, and been met with a blatant hostility. Even though I've tried desperately not to make it sound like an attack at all.. and I tried phrasing it in good comments all around. So, to play it safe, overall I think that in the future, I think that I'll just do my job, and shut up about comments on work, and let the film makers learn on their own... or not. So.. here's my question. If someone ask you for comments on a film that you worked on.. do you just refrain from giving any? Do you just say nice things about it, move on, hoping they hire you again? Do you even perhaps totally ignore the subject of comments all together. Do we as film makers do a terrible disservice too all those in need of 'the truth' by simply ignoring commenting? Thanks everyone. -Richard

I've had background checks done because I've worked in Jails before.. Documentary on Juvenile jail.. so thats understandable. However, this contract is basically, saying, "they will investigate me" thought any means necessary, checking my former employees, business references, driving records, criminal records, credit records... My information as to character, general reputation, personal characteristics, or mode of living?? This is a reality TV show working with kids, so perhaps they're required by someone two run people though the checks.. Perhaps I can see the point if it's to protect the kids? -richard

Is it normal to have someone check your credit before they hire you for a sound job? -Richard

http://laist.com/2008/11/06/new_buglary_scam_faux_film_location.php Hard for residents to find out who's legit.. And people sometimes see stars (or cash) in their eyes sometimes.. -Richard

http://www.trewaudio.com/audioflow/2008/10/30/set-etiquette-and-the-chain-of-command-part-i/ A good article from the Trew Audio group. -Richard

A number of months ago, I was invited to do a 'sit-in' on the actors reading though their lines on a production meeting right before a shoot. Fortunately, I was able to get out of this, as I think thats it's a huge waste of my time, and I can't see where it serves any purpose to a "technical position" like sound. I think that the only thing that might be important is that if they want sound run to the camera, then how I'm going to interface with the camera is about the only thing that I need to know for preproduction meets. Beyond that, I can't stand to be in these production meets because, 99% of the time, nothing anyone talks about is sound related, unless we are location scouting which is a different story really. What do you guys think? -Richard

Best way to handle that letter... Simply just reply with. "No Thanks". And, thats it. Don't explain why. The fact that you replied, means that you read his email, and considered it. Because you didn't elaborate, he will then spend a lot of time trying to figure out why it is you declined. He will then do either one of two things.. give up the sound biz in total disgust, or keep pursuing it from a different angle. Either way, it works out good for the biz. -Richard

Thats a good idea about creating a "Snake" with the quick connect just like on a XLR snake.. Thanks -Richard

I'll work for you Whitney for only $20 hour! This letter has to be someone pulling your leg right? -Richard

Given the amount of RED camera shoots that are appearing now, does anyone as a matter of equipment needed, carry red audio cables in their gear? http://www.coffeysound.com/product.php?productid=796 I haven't done a red shoot yet, but I'm going to assume that I should go buy these cables, because more than likely no one is going to care in the picture department about sound. Therefore, you can't rely on the DP having the sound hardware he should, or that comes with the camera, right? -Richard

Sergio, .. yes.. some sort of fashion one way or another. Worked for several small sound studios before, worked as a technician in sound, and even worked as a DJ for a number of years before doing.. "set sound". So, yes... I've spent the better part of my life "working" in sound. I'll suck it yep, and do my time then. -Richard

Check this out.. response - The correct word. responce - Same word, incorrectly spelled. Spell checker doesn't find any issues with this, even though one is wrong! -Richard

I'm getting sick of these producers, shopping. If price is the ONLY consideration, then I'm never going to win that one. I've spent a lifetime building my gear, learning my craft, working on a resume, building demos, and building relationships in this industry, only to have it all thrown out the window when someone doesn't even take the time to look at my resume (or webpage) and goes for one thing.. Correct me if I'm wrong but in the real world when you see a job offer in the classified pages, you apply, you get asked for an interview, they spend some time getting to know you to see if your "the right fit", and then.. and only then do they offer you the position and a salary offer. Why are these newbie producers, calling around and window shopping as if they are ordering a "happy meal". I'm not going to get mad.. or respond back by saying, "do you want french fries with that?". So here's my new canned response to these, "Whats the lowest you charge.." type productions. --- "As with all job offers, I invite you to do your research on your available candidates, choose the best (and right) person for the job based on many many factors such as "can you work with this person in a challenging environment?", "is that person qualified for the position?" and "can this person perform this important job and be on time and be professional?". Then once you have chosen a candidate based on your needs and the available candidates in the pool, feel free to offer the job with a fair industry wage based on these qualifications." I look forward to your offer. Thank you. ---- 9 times out of 10 I'm sure that I don't get a response to this, however if I just gave them a magic number, I usually don't get a response anyway because in the producer is shopping, and they aren't a serious production anyway.. and they are just seeing how low they can pay the crew. Either case, most of these guys are wasting your time anyway. Just a thought -Richard

Speaking of Interviews.. I had an interview once where after about 2 mins, I figured out that the guy had NO intensions of hiring me. He just wanted to talk about what equipment I use, and he spent the whole time writting down everything I said about the equipment. I guess he was going to just go buy the stuff, and hire a monkey to run it.. -Richard

I understand guys.. And, I'm NOT upset at anyone.. really. It's just a blow to the old ego thats all. -Richard

Yeah.. I know guys.. It sucks. Not much I can do about it.. Thought it better to not name names.. Guy is in the union too.. I just don't get his angle. -Richard

Well I had a particularly difficult week this week. As with every week, having to deal with the usually newbie producers that seam to be insulted that "I" am charging money to work on a set, from the wife who thinks the 'sound biz' is just a hobby ('when do you get a real job'), to getting my ass handed to me on a job interview at the end of this week.. Caulk it all up to some of life's experiences I guess.. But one particular incident seams to keep nagging at me... I got a gig working on a low budget 2 camera red shoot in Pasadena. Everything was set, cleared my schedule, call sheets out, equipment was set, boom op chosen, it was all a go. I was looking forward to working on the set again, as I've been doing a whole slue of these doc type projects. Don't get me wrong, I love the docs and odd work, but I love "the sets". TV shows, Shorts, Features, etc.. Anyway, I got a funny email last week that was kind of 'odd'.. So I called the producer, who said this.. "We're sorry.. we found a very experienced sound mixer who was willing to do the job for free. Since our budget was low to begin with, we took this opportunity to work with this sound mixer, and save the money". Wow.. I've been dealt blows from producers, directors, even Pa's on the set before.. but I wasn't expecting to be screwed over by a follow mixer in the business. One would think that he must know that he's kicking someone out of the job right? I've looked him up on IMDB, and he has loads of credits and experience too his name.. Should I post his name here? I'm almost temped to call him up and say, "WTF?". Apparently he's a well know sound mixer in this biz.. I have to admit that my confidence in other sound mixers has been somewhat shaken up a bit.. Perhaps the real world is a little more brutal, or perhaps my confidence has been shall we say.. "crushed" a bit.. Tough week for me. -Richard

The vast majority of my cart is still AC powered. So, I thought that a UPS would be an easy fix for moving around on the set and not loosing my chargers, monitors, wireless system, mixer.. or other gear that doesn't like the loss of power. When I go the DC route, I most definitely will looking into a PSC power unit.. Or am I thinking wrong on this? Thanks -Richard

The trouble.. the huge amount of people that keep showing up in Hollywood that have NO film school curriculum or directing 101. -Richard