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Tom Craca

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About Tom Craca

  • Birthday 11/01/1970

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  • Location
    Maryland / DC / Virginia
  • About
    Mixing since 1994
  • Interested in Sound for Picture
    Yes

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  1. Tom Craca

    scorpio!

    I have to do this often on live remote anchoring sets for network news and sports. Often the host/talent have IFB ear molds in their ears and can't hear their guests / other talent sitting or standing right next to them well, especially in high noise environments. They each need each others iso's blended in lightly for a mix minus on set. It was always a struggle with the 688 having no control of the send to aux levels of the ISOs; I'd have to provide the remote program feed hot to each aux talent in-ear monitor so the ISO pre-fade (of the others) to the aux was at a lower level. It was a delicate and painful dance. On the 8 Series with the aux send option it's a breeze. One of the many reasons I added a 833 and Scorpio. This is a great feature that you don't know you needed until you had the option.
  2. 1. Under the common law rules of the IRS Guidelines, the services provided to the Hiring Entity by the Business Service Provider are not that of an individual as a “Worker”. An IRS Form SS-8 can be filed with specific regards to the Hiring Entity if necessary but the relevant determination factors are as follows. The Worker has exclusive and complete control over what means, methods, equipment and processes are used to acquire, manipulate, record and deliver the product and provides the necessary equipment and tools. The Company provides no training, guidance or instruction. The Worker is hired per specific job, based on the professional, creative and technical abilities AND to provide the appropriate professional equipment. The Worker is not an operator or equipment rental company. There is no continuing relationship and the Worker has no expectations of future work nor does the Company have any obligations to engage the Worker’s services for future work. The Worker is free to accept or reject any job offered by the Company and is under no obligation or agreement to accept future jobs. The Worker is not required to hand in or create any reports. The Worker is paid by the job based on the Worker’s set or negotiated fee schedule which is based on the duration, location and specific equipment that the Worker provides as determined by the Worker for each specific job task to achieve the result . The Worker pays for his own overhead such as production equipment, insurance, advertising, office and administrative tools, communication equipment, crew vehicle, maintenance, repairs and replacement of equipment, inventory of expendables and media, online storage for deliverables, web domain and email server, etc. The Worker has exclusive control to choose what tools and equipment is owned and used to deliver the result the Company engaged the Worker’s services for each specific job. The Worker has invested in and owns and maintains the necessary production sound equipment, transport vehicle(s), administrative office equipment and utilities, storage, insurance, etc. which is required to provide the services for which the Worker is engaged by the Company. The Company does not provide any equipment for the Worker. The Company does not compensate or reimburse the Worker for expendables, supplies, maintenance, replacement, or purchase of any tools and equipment. All of the Worker’s investment is at risk and the Worker is capable of realizing a profit or suffering a loss. The Worker provides the same services to a diverse and significant client base. The Worker is not required to request permission from the Company nor is the Worker required to notify the Company. The Worker is free to provide services to any other client, at any time. The Worker is a State and Federal registered LLC with a Federal EIN. The Worker’s services are advertised and available to the general public both domestic and foreign, has name recognition and a presence in publications, online media and other public forums regarding the same services the Worker provides the Company. 2. The following criteria, in addition to those mentioned above, exempt the Business Service Provider per the business to business exemption and affirm the independent contractor classification per the Borello Test, and furthermore, the ABC Test. The Business Service Provider is a bona fide business entity providing location sound recording services. The Business Service Provider is independently established, having it’s own corporate status, insurance, business location, various licenses, tax registrations and professional association memberships as required and / or customary. The Business Service Provider provides written contracts as is customary in this field (ie. Rate Sheet with Rates Terms and Conditions, email correspondence, etc.) prior to any agreement with the Hiring Entity and providing services. The Business Service Provider customarily engages in the same type of work performed, and is engaged in the same type of work under contract with other hiring entities. The Business Service Provider advertises and holds themselves out to the public and other potential customers as available to perform the same type of work. The Business Service Provider is free to, and does, maintain clientele without restrictions or requiring approval from the Hiring Entity. The Business Service Provider provides services directly to the Hiring Entity itself, and not to the Hiring Entity’s customers. The Business Service Provider negotiates and sets its own rates, maintains a business location separate from the location of the Hiring Agency, The Business Service Provider supplies it’s own tools and equipment to perform the services, independently and without control of the Hiring Entity decides what tools, techniques and customarily and regularly exercises discretion and independent judgment in the methods and means in the performance of the services to achieve the Hiring Entity’s desired result. The Business Service Provider is free to accept or reject any future contract or request for services from the Hiring Entity, there is no expectation for future services, nor is the Hiring Entity obligated to contract to Business Services Provider in the future. The Business Service Provider is free to seek and accept work elsewhere, including though competing entities. The Business Service Provider brings specialized skills and tools that are not in the usual, direct course of the Hiring Entity’s business, but often a necessity to the broader operation. Employee my ass. FU Pay Me
  3. I have one client that requires a redundant, separate recorder while running sync on bag shoots. 2nd recorder runs continuous (no start stop). For bag use the Lectrosonics SPDR is what I use. Takes a jam, external powered with internal batts as backup, AES or analog. It's the size of a LT transmitter.
  4. Tom Craca

    Camera Hops

    Hey Jon, I noodled this through the beginning of this year with the impending spectrum crunch and my re-blocking of some of my units as well as investing in 4 new Lectro SRC systems in the last 18 months. My concerns were having flexibility to have my dedicated hops away from my inbounds depending on what bag/cart and how many I was using as well as other factors. In the past I was using two SRC's w/ batt sleds, or AES bottoms (which I absolutely love). I'm still primarily using Comtek 216 for IFB's with Lectros in the mix every so often so that isn't my big concern. I was hopeful/waiting for something Lectro that I had in mind would fit the bill but have since run into a critical time crunch to address the issue so here's what I arrived at and I am very happy so far. Priorities were size (smaller cameras and grumpier ops), Analog and AES (for Amira's & F55s), battery eliminators and internal options (DSLR's and C300s), spectrum flexibility and output power (both high and low). I ended up hands down, no questions unanswered, with the Wisycom ENG52 units and the MTP40s Band 7 TX's and here's why I think they are the best option right now (for me) for camera hops: Size: Bigger than G3's but smaller than my SRC's especially with bat sleds. Outputs: Analog, AES and a headphone 3.5mm that I have attenuated successfully for mic in to Red cams Power: The battery eliminators for the RX's and TX's are expensive, but essential for me. And the RX's can immediately take 2 AA's for those cams that have no DC out. Spectrum: 470-663, and higher up to 1160?? in the RX (requiring different TXs). So I have full spectrum to move around whatever inbounds on my bag/cart I'm using that day as well as access to the guard band and duplex gap (Power limitations addressed in TX's) Power: MTP40s Band 7 Linear TX's cover 470-663, have 10mw, 20mw, Linear 20 (ie narrow band), 50mw, 100mw). I don't need 50 or 100 mw in a bag going to a cam 10' away and don't want any excess spray. Plus, to use the guard band TX's will be limited to 20mw or less and these address that issue. There is a learning curve with all the settings and customization available (squelch, wide or narrow band, multiple companders, etc.) coming from Lectro (turn it on and it works without input). The scan functions and spectrum data is phenomenal on the RX and attached to a ....... well, you'll see someday soon. That all being said, I recently bought two full sets (2 RX, 4 TX) and a full complement of cables and battery eliminators (not cheap) and have been using them in the field. Recently with hops on two different Reds (with internal batteries), and a pair of F55's (with battery eliminators) just yesterday and today. I couldn't be happier so far. It all depends on your client base and workflows but for mine, with many clients I have still wanting broadcast quality audio on cam, these fit the bill to a tee. And, a big plus, is Wisycom USA is now based here in Alexandria, VA with tech support, etc... Geoff Baynard is whom you should reach out to directly and there are Wisycom groups now on Facebook. My $.02 cents. Your use may vary. Cheers.
  5. If Jim's not available I can be. Cheers. 301-233-2888 Craca.Audio@Gmail.Com
  6. Sadly, you really need a few of these. The older Petrol "rain bib" and now one produced by Sactler and KTek. PROS: I found was good in very light mist or rather useful in dusty or sandy conditions. It's rather small to throwin a fanny pack or pocket to quickly deploy to just protect the mixer bag. CONS: You, however, are on your own. I had / have the older Petrol ones and the older clear vinyl plastic became brittle over time from being rolled up for months without use. The poncho, several makers now, is great if you are working in a situation where its a quick transition from outside (wet) to inside (dry). I do football coverage and usually at the end of games I have to suit up to go out on the field for about 15-20 minutes at the end of the game in cold / wet weather. Then quickly go inside to a hot, humid locker room for a duration. PROS: The poncho is great because you can don the whole thing, also slide your boom underneath until deployment, and when you transition to inside, take the whole thing off. CONS: Because your body is also underneath the same "bag" the humidity is fairly quick to fog up the vinyl window. It also gets toasty in hot weather, but it's open design (and the newer ones have venting) helps a little. Also, if you wish to drop your mixer bag and walk away, it will remain unprotected. The Audio Bag rain bags (VersaFlex, MTO ShooterSlicker) completely seals in your audio bag separate from yourself. I do some hurricane / snow storm / live broadcast outdoor coverage and prefer this for those situations. PROS: These completely enclose the mixer bag (top, sides / bottom) with sleeves to insert your arms and ports for cable exits. The audio bag clips inside, and you then harness up to the rain bag. This makes is easy to set down and walk away with everything remaining protected, keeps it dry if you set it on the ground, or makes for quick transitioning from say a cart or table platform to straping on, or for changing your own layers without exposing the mixer bag to the elements. The newer materials for the vinyl windows are much improved for fogging and durability. Some of the bags have venting and pockets you can also use for hot packets in the cold. CONS: Access isn't as easy as the other two options. You have to snake your hands in through the sleeves on some, and under large flaps on others. They take some configuring to get placement correct for viewing of meters, etc. and does take longer to insert or remover components. But once you're all set it's good. I personally use an older rain bib from Petrol, a Petrol Poncho, and a MTO Audio Slicker with some custom mods from Susan Ottalini from MTO Shooter Slicker (pic attached). Get one of each from any maker and you're set for whatever situation you encounter. Oh, and some FilmTools Bag-It's to just go over the whole cart / rig / trolley in a downpour. Cheers. Nick Huston from Gotham Sound NY did a great video on some options. Check that out here:
  7. I just updated my 4 units with the SRSUB and went flawless. Just remember if you are MAC, open the USB updater before Wireless Designer and it's seamless.
  8. Sanken CS3e And a 17’ Pole. Stay behind the dashed yellow lines.
  9. Tom Craca

    664 panic

    Try playing in the 664 again. There was a iTunes / ma update issue a few years ago with wav files.
  10. I've never had a problem sending AES out of a Sound Devices 633/688 into F5 or 55's. When that camera first came out the AES wasn't enabled in the earlier firmware. Perhaps camera isn't fully updated to current?
  11. I had an issue come up today with a Weapon with the latest firmware update which allows internal recording simultaneously of Raw and some other hi-res codec (can't remember). two tracks sent to cam (yes... as reference/scratch), were recoded to the Raw files, but no audio recorded to the other codec. Audio was displaying on cam entire time, no menu settings to enable / disable audio record individually for each format, time code input accurate on both files. Firmware issue likely but be aware.
  12. Make sure you turn phantom power off in the camera audio menu as that does induce noise on the mic inputs.
  13. I sure hope no one puts a microphone into a MixPre 3, clips that on their belt, records, and then god forbid plugs a wireless transmitter into that to send the signal elsewhere.
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