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Don Coufal

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    22
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About Don Coufal

  • Rank
    Hero Member
  • Birthday 09/24/1949

Profile Information

  • Location
    Agoura Hills
  • About
    I'm a dad with three girls. My oldest daughter,Emma, just graduated UCSD and is going into the Teach for America program for two years. My youngest daughter, Libby just finished her sophomore year at Oak Park High School. My middle daughter Leah died from complications (medical malpractice) after pectus carinatum surgery performed at Cedars Sinai. She would be 19 and a junior in college.

    My IMDB-http://www.imdb.com/name/nm0183304/
  • Interested in Sound for Picture
    Yes

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  1. I find this thread to be interesting but contrary to almost everything i have experienced in my 46 years of working in sound on Motion pictures, commercials and lately some TV. I feel that i am highly respected by most Directors of Photophry, Assistant Directors, Camera Operators, Camera Assistance, Gaffers, Grips and most other departments as well. It's true that because we are for the most part a stand alone department, many crew members don't understand what value we bring to a production. This is where we as professionals have to show them, through our actions, knowledge, social skills, and willingness to help and support the other crafts while performing our own duties of recording the best sound, that we are just as much a part of the filmmaking process as everyone subservient to the picture. i agree it doesnt always come with accolades from producers and some directors because for the most part they are focused on picture during the production process and only hear the sound we record over comtecs or the like. But lets be honest, do you really expect to get accolades from what you hear over comtecs. Much of the appreciation for sound will come during the post production process, or not, depending on the job done. If you have performed the job well on set and turn in sound that is right for the project your true accolades come with the call for the next project. Then you can solidify your respect by working with many of the same people over and over and i bet some accolades will start coming. Its a process but one that is very rewarding,
  2. Would love to find a project starting after March 30th. I have not done much networking over the years as I have stayed pretty busy. So, i hear " I always think you are busy" from a lot of people. I'm taking this opportunity to maybe meet some new people or re connect with some old friends. This is my IMDB --http://www.imdb.com/name/nm0183304/reference for reference. I live and work in LA but of course have worked through out the US and many other countries and am free and love to travel. Looking forward to any responses.
  3. I personally do not like the idea of putting off camera dialogue on he production track. It seems to be justified only in that people watching dailies need to have the real experience. As far as micing off camera and putting it on a seperate track so it is available for the editor, I have no problem with that. Of course there are many reasons why that track will be useless anyway. I tend to think in terms of feature work so I realize it may be different in TV or other media. My choice is always make the on camera the best possible. Overall that will be the most useful for the editor. As an aside though. I do find that if there is a microphone available, most mixers seem to want to open it up. Just saying.
  4. Richard, I worked on the film and must correct your statment "and never a tripod." The whole film was done on tripods or dollies. It is the long lens that Tony uses that gives it that look.
  5. In your individual profile the max is 50 topics and 50 messages.
  6. Thank you for that post Laurence.
  7. This person is some artist. Beautiful work. Maybe this is the answer to "New Media".
  8. Can you explain the cage around the mic on the stand next to your gear. I assume this is the framework for wind screen wind protection. Who makes that rig?
  9. When my girls were younger I too was ask to do something at their school to help with plays, musicals etc. At this particular school which was Calmont in Topanga Canyon, the stage was an out door stage so the little voices were lost very quickly. I considered several of the solutions that have been mentioned here but chose this one for this particular situation. I went to the hardware store and purchased three 18'' plexiglass squares. I mounted PZM microphones to the squares and then mounted the squares on mic stands with tilting heads so I could adjust the angle. These were placed left, right and center of stage just above the lip and tilted at about a 60 degree angle I would guess. There was also a stage mic on a stand when needed. This system worked beautifully as the little voices were crystal clear and sounded very natural. It worked to enhance the voices with out the need for a lot of PA level. It was also very smooth across the stage. And of course letting the Teacher know that a little projection from the kids always helps. I haven't tried this in an indoor auditorium or environment so I can not speak to its effectiveness there. As you know there are many variables to deal with in these kinds of situations. Good luck.
  10. I've really never heard of this being a problem and I think all of us have done this for years. I have heard however that you should not remove the capsule on a microphone like the schoeps with the microphone plugged in and receiving voltage. This can damage the mic. However before we were informed of this we had done that very thing many times. Now I always unplug the mic before changing a capsule. Better safe then sorry.
  11. There are many things to comment on with an article such as this but the first thing that came to mind as I was reading it was the immediate effect on all those here that do commercials. Beside the fact that it could seriously effect the amount of work available it seems the greatest effect may be everyone waiting longer and longer to get a paycheck from any commercial. Production companies will take any advantage available to them and when no time frame is set for commercials to pay, 60 to 90 days could become standard. It already takes at least two weeks apposed to the one week in TV and Film (mandated by the contract) but I believe that the commercial contract does not even mandate that. Someone in commercials correct me if I am wrong. I'm not sure when the new commercial contract is due to be renewed but that is an issue that certainly needs to be changed before it is too late.
  12. Robert, I believe that several people here have very intelligently spoken on the issue. It is always good to dissect both sides of an argument so it is always good to have "the devil's advocate". I would point out, however, that when the opportunity arises, we would all do well by offering to someone the trainee position. This is not taking work from "one of our brothers or sisters" but rather helping to create a stronger more viable brotherhood or sisterhood. (It is so hard to be politically correct these days). One thing I have learned after all my time in this business is the more you help and give to others, the more you will get in return. Just my opinion. Don
  13. Jeff actually stated my position very well. I was suggesting to look at a trainee position for those people who are, for what ever reason, working on long form projects with a two person crew. We all know that a three person crew helps us to do better, more efficient work and it also let's the production know that even on lower budget projects a third person is needed. The trainee position is in the spirit of compromise without compromising our desire to do the best job possible. Instead of a PA you might actually have someone working with you who loves sound, wants to learn, and is committed to the job. Don
  14. Hey Richard, I got them straight from the recent rate card as listed under "contract" on the 695 website. I think this will take you to it. http://www.695.com/mbr/rate-07-09-s-d.html You may have to sign in yourself. I know this is available because I used it a few years ago to get MiKe Herron into the business. He was a PA on Fight Club and wanted to get into sound. We talked to Jim Osbourne first and then to the Production Manager. It was agreed that if they listed him as a Sound Trainee on the call sheet for thirty days he could get on the roster and thus in the union. They did, he did and now he is doing very well in the business. My point is that this is available and could be used as a way to avoid having to cave in to some of the demands that are made. It would mainly apply to those lower budget jobs that think they just can't afford a third. If no one is listed then I assume you would need to clear it with the union and just find one of the many young people who would be dying to work with you. Just my opinion. Don
  15. Eric, Your right about "it's all about the money. That is why I suggested in my post to look at the Trainee Position available through the local. That would be more like $5000 for a film like you suggested. I'm just suggesting that we all take a look at all the options before agreeing with production that is is not necessary. They will always push to get something for nothing. But like a good friend, script supervisor Marion Tumen, always says "If you don't ask you'll never get it". Don
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