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About lightsofjuarez

  • Birthday May 17

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  • Interested in Sound for Picture
  1. Michael, Let me know how it goes and who you’ve been working with. This is Tyler Blythe btw. Not it sure if it makes a difference but the job offer my fiancée got is with the Canadian government.
  2. Once my soon to be wife gains full residency with her new job, wouldn’t that then make me a Canadian citizen?
  3. Hi Folks, My fiancee recently received a job offer in Vancouver that would give her permanent Canadian residency thus we are considering making the move. I'm wondering if I (a US citizen) would then be eligible to work on productions that shoot in Canada? I'm currently a 695 & 479 member but is there an IATSE local I would have to join there? Any info would be greatly appreciated!
  4. Hey guys, My fiancee was recently offered a job with Apple in Austin, TX and we're considering making the move from NC at the end of next month. With that said, I've been scrambling to do as much research as possible before we make our decision. Was wondering if any of you out there live in the Austin area or know much about it's film industry? Do most productions hire local crew or do they primarily bring in LA mixers? How are the incentives? Do many of the productions shot in TX hire local mixers or just bring in LA or NY mixers? How's the commercial market? I'm thinking long and hard on the decision because I moved back to NC from LA (where I primarily did audio post production) about a year ago and was just about to join 695 as a mixer here in NC. I've been to Austin a couple of times for SXSW and have always enjoyed the city and it's food and music scene. Austin's film commission site also quotes MovieMaker magazine naming Austin the "#1 US city to live and make movies in for 2013" which sounds...promising I guess? I also know the TV show Revolution just left Wilmington, NC for Austin, TX too because NC film tax incentives have been under attack by Governor Pat McCrory. Anyways, any info or advice would be greatly appreciated!
  5. Thanks for all the responses. Unfortunately, I believe it's the bnc to 1/4 I'm trying to use. After switching the slate to the "run" mode, I'm no longer getting the rEAd error and the slate is set to the right frame rate but it just isn't jamming automatically to the 664's TC like it should. It keeps starting at 00:58:30:01 everytime. I'm guessing the cable I'm using is just wired the wrong direction.
  6. Read both the 664 manual as well as the Denecke manual and checking the 664 forums, the Denecke site, watching their "how to use video" too and yet...still no luck. Thus, why I'm asking here.
  7. Hi guys, I have a shoot coming up and the production wants to use the Denecke TS-3 smart slate and I'm trying to jam it using my Sound Devices 664 but I'm have issues. I've used the TS-C slate before and jammed using a lemo cable and everything worked great but this is the first time I've used the TS-3. I've set the TS-3's slate rotary knob to 23 frames per second and put it in the read mode but when I power cycle it trying to jam from my 664 the screen just goes blank after it says rEAd. I have a feeling it has to do with my settings on the 664 which I have set to: Sync Reference: Internal Timecode Mode: Free Run Frame Rate: 23.976 Hold Off: 0.0s Set Generator TC: 00:00:00:00 Set Ubits: 07:28:2013 If anyone could offer any ideas or solutions it would be a huge help and relief on my part!
  8. Hey guys, I'm having to turn down a day gig with ABC news shooting in Kelly, NC which is about an hour outside of Wilmington, NC because I was just offered a spot on a feature. Pay is pretty decent but you must have your own gear with at least two wireless plus a boom. If there's anyone in the Wilmington area who would want the work I can pass your info along to the producer. Feel free to e-mail me at tblythe.sound@gmail.com if interested.
  9. Has anyone here ordered their 664 from Trew Audio and already received it? I placed my order back on September 14 from the Nashville store and they have yet to give me a real estimate of when I might get it. Last time I called them they couldn't even find my order/name on their list but said given the date I ordered I "might" get it in December or January. I realize it's first come first serve but to not be able to even find my order/name on their list or even tell me what number I am on the list...I'm pretty disappointed with the customer service. Especially when it's with such an expensive piece of equipment. Has anyone else had any issues like this with Trew before?
  10. I've been an avid reader of this forum ever since discovering it a few months ago and wanted to throw out this question I've personally been struggling with... What is the best approach for the new generation of want to be sound mixers to learn and break into the industry? I've gone through countless threads in which many of you are rightfully frustrated by the slew of young guns buying our own equipment and taking low paying gigs just for the experience & connections hoping to be able to afford rent at the end of the month. I completely understand the frustration and damage that accepting low rates creates. However, what I don't understand is that in todays struggling economy, how else are we suppose to get our foot in the door? How is someone starting out going to land an entry level sound utility/cable person position when it's required to have 100 days of non-union work? It's close to impossible for us to go the old school route and learn from more experienced mixers such as many of you due to union restrictions and shrinking budgets. I've been at it for two years now just doing low budget indie films and shorts and am still struggling to get my 100 days. Also, no producer wants to hire someone who has been doing it for two years for the same price as someone whose been doing it for seven. Especially when the only non-union work that any of us can land right now are the low paying craigslist postings and the only way we can even get those gigs is by buying our own equipment. Believe me, I would much rather start as a sound utility and train under an experienced team than to occur eight grand of debt for a basic bag setup. And many of you say get the work first and then get the equipment. What good is it to spend $300 or $400 a day in rental fee's when we're lucky to make that in a day? Maybe I'm missing something here but it just seems like a catch 22. Not all of us come from money or live with our parents or had the luxury of attending film school. Most of us new guys are doing everything we can to make a career out of something we love during hard times and in expensive cities. Something everyone who reads this forum should understand. For the film industry to thrive and continue, there has to be a new generation that will eventually pick up where the previous one left off. I'm sure many of the experienced mixers here we're lucky enough to have help along the way. If no one is willing/able to help train the new generation (and I don't particularly think film school counts), we have to learn the only way we know how. From blind trial and error + debt. The film industry is currently at a turning point. Things are changing in major ways but it's up to all of us (young and old) to try and direct that change into something positive rather than harmful. Many on here will likely attack this post. I get it. You've heard the questions asked a thousand times. I apologize for rambling and stirring the pot yet again but if any of you have suggestions or advice I welcome your insight and experience. - Adrian ----------------------------------------------------------------------------------------------------------------------------------------- We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time. T. S. Eliot
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