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Simon Hayes

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    Production Sound Mixer

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  1. Commercials require a boom operator. Period.
  2. I agree 100%. Unless the system has been extremely well thought out with all the correct maths, amplifying cables on RF systems is an extremely bad idea which causes more issues than it solves.
  3. I have started cycling to work twice per week, generally Mondays and Fridays. I am studio based and it's a 32 mile round trip.
  4. The document is about guidance and creating confidence in the fact that our craft has taken the situation seriously and can react and adapt safely to whatever issues we are faced with. The document deliberately does not set out a set of rules- they are guidelines. It may be that some productions do not require additional equipment, it may be that some do. Whatever the case may be we have it covered. For instance- actor decides he/she will not allow a sound assistant to work closely to change batteries, that *may* require the use of two TX's so the actor can be passed a fresh TX with new batteries by a dresser. We do not stipulate this, but if it is a requirement the cost can be negotiated with production. It is not our aim nor our business to talk about the financial implications of Covid-19, it is our aim to create a road map that can safely get our department back to work. Our document is about options - not about buying new equipment unless it’s necessary. We must all remember that when we return to work there is going to be a lot of content the studios want to shoot to get back on track in film and TV. There will be a cost associated with making productions safe in all departments and the sound dept is no different.
  5. FUTURE PROPOSED CONTROL MEASURES FOR SPREAD OF COVID-19 By AMPS Feature Mixers Group 36 PRODUCTION SOUND MIXERS WORKING IN FEATURE FILMS & HIGH-END TV IN THE UK *Please feel free to share this document widely* Sound Control Measures draft 5.2.pdf
  6. Dear Colleagues, Please feel free to contact us of your show requires a green or blue sleeve to help your boom operators cross real set pieces in foreground while working against green or blue backgrounds. Kind Regards, Simon https://www.greensleeve.london/?fbclid=IwAR0sj7LEIzEWHk0qTbxh5tN2ca-FgyJGjWzfk96jzeerQv3WfkOdeK0wwiE
  7. i too am a supporter of hard work and innovation. That is why I will only buy URSA straps.
  8. I completely agree- awesome work Todd.
  9. The best advice I can give is to make contact with the Costume department as early as possible in pre production and work collaboratively with them. As always, discuss “performance” and not “sound”.
  10. Glad to hear you're OK Jeff, Healing vibes, Simon
  11. We have been using URSA's for a couple of years now, giving feedback from the prototype R&D period. I have completely replaced my whole belt and pouch inventory with URSA's after more than three A list actresses asked to keep their URSA thigh straps at the end of different shows. We have found that as soon as we demo the URSA straps to the Costume dept in pre production any fears they had about my team rigging difficult costumes evaporate and we encounter a lot of goodwill between costume and sound.
  12. Hi Glenn, Which is Zaxcoms preffered DPA for your products- 4061 or 4063 Thanks Simon
  13. Hi Henchman, i hope you are well, this is what I would use- http://www.dpamicrophones.com/microphones/dfine
  14. The dialogue in the trailer sounds superb Jeff. I'm looking forward to watching the movie.
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