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Found 7 results

  1. Hi again soundfolk, I just received my 744T (my 442 is on the way too)! It's the first TC recorder I've had and and I'm psyched! Production on a little indy film helped me afford it (plus a bunch of other goodies), and principal photography is four days away. I'm sure the 744T user group has generally settled on common settings and methods for many of the things we do with them. I'd like to ask how you may set certain user functions and other settings on it..perhaps which ones maybe most important...what strange behavior I should beware of, perhaps some of the unorthodox settings that have worked out problems? My first question is: 744T File: Folder Options ~ How do you like to organize the folder/files? IE: For this film should I make the Top Level file "The Name Of The Film", and then the Mid Level folder automatically becomes my daily folder? Does it work that way? I'm not sure about that part. A second nebulous issue... Compact Flash Cards: At the advice of the group, I could hand them off for upload to the production Mac as we move through the shooting day, keeping every file backed up on the HDD (and maybe an external FW drive), if I understood correctly. Is this a good work flow? If so, how many cards and what size would I need to avoid log jamming the system at the upload end? What size cards do you like/purchase? I went to Office Despot and picked a few compact flash cards ~ a 4gb Lexar and an 8gb Sandisk. I'll be living here for the next few days... Many humble thanks, Rachel
  2. Hello, I am a newbie in audio and would like to get on set experience on audio department. I would like to start as an audio PA and work my way up to boom and to mixer. Based in NYC. Thank you.
  3. Hello Everyone! I'm Kevin and I'm new here. I've been reading this site like a novel. I love this place. Makes me feel less like a crazy person reading through all of the "experiences" here on the forums. I have a TON of respect for all you guys and aspire to be as great as you all. Big thanks to JW for creating this site!! So basically I'm looking for work on better projects than I have been working on. My goal is to get on something with a real budget and respect for the sound dept. I'm in SoCal but will travel anywhere. I will boom or do utility for any of you vets out there who may need an extra guy. A mentor is really what I am looking for I think. I have been doing sound as a non-union OMB since January 2012. A friend of mine who is a member here got me into this biz and has continued to help me as much as he can (Thank you so much Daniel!). I have had some very cool experiences as well as several not so cool experiences. Traveled to Vegas, Mexico, Pennsylvania, North Carolina, going to Colorado in June...living the dream right? Anyway, my bread and butter is referrals from past projects from CL/Mandy (I know, I know). I'm starting to hate doing this at this level because I feel like I'm stagnating and working too hard for what I'm paid. I understand I'm paying my dues and gaining experience which is a necessary path in this industry and I sure have learned a lot!! I just don't have any idea on how to progress with regard to finding new clients or getting on better shows. How do I do that? Union? I've read most of those posts....not sure I can afford to pay the entry fee with my low budget income but I certainly do want to become a union member if that is really where its at. Sorry to ramble and sorry to sound so frustrated....any helpful thoughts are welcome. Thanks guys!
  4. Whether it's taking up a mixing/booming role or just as an assist, I imagine that in some of you guys' long career you might have found little things that every once in a while or quite often come in handy on your projects or just something that does something nifty that some people wouldn't think of, well I hope there is something otherwise this will be awkward haha. I'm currently trying to find some work to start my career here in NZ and want to try learn and do the best I can from the getgo and obviously make mistakes to learn from along the way, I'm more of a post guy and had mentality that it's better to be the guy that fixes the problems than to be the one causing them on set as in I don't like the thought of any screw ups I make result in having to give more work for the guy in post, but reading some of the insightful information here got my confidence up on doing more production sound mixing which is primarily what I did at film school last year. Thanks guys.
  5. After a while, one may spot a rookie at 100 paces. How? Running on set Acute defensiveness Acute anger Wrapping the 7506 coiled cable tightly around the headphones at the end of the day What else?
  6. 1-Finishing up a low-balled sound gig on a TV pilot where lots of thought and money went into nearly everything within the well-written and well-acted script by an accomplished and talented director except what equipment was necessary to get good sound. When the UPM wouldn't budge on price, I gave him a kit list of what I would bring for that price...2 channel recording, no TC, a boom and 2 G3 wireless kits, no camera hops, and when asked for options, I include the search for someone with a bigger kit who would work for what they're offering. I discuss the script with the UPM, explain the inherent limitations of a restricted kit, he doesn't know what the "free prototype"cameras will be, I forget to ask the shooting style, the producer OK's the kit list, and I find myself neck-deep in a "wide and tight" shoot, struggling to keep a mic on every actor, and the director, producer, and DP asking me questions about why I wasn't jamming TC, sending a scratch track, or wiring every actor. The producer and editor take me aside yesterday and tell me they've listened to the sound files, are extremely pleased, and tell me I'm doing "hero work" with just 2 channels. I of course consider everything I've read here and wonder If I've somehow fucked up by making it work for their shoot, knowing how much better It could have been with a little planning, communication, and not that much more gear, and sending them on their merry way to the next unconscious sound decision.(I read it here that "low-ball" gigs force you to record bad sound.) 2- I get so nervous wiring up a well-known actor whose work I've admired, that I pull his fucking chest hair with double tap in front of the entire crew... instantly crushing my mojo and putting him in a foul mood...humiliating. 3- I ask the 2nd AD to ask the "pregnant actor" if she is OK wearing a wire (I read the thread here and thought I'd give the option). When he asks "which one" I incredulously tell him the only actor here who looks like she's suffering from Kwashiorker. He comes back saying "of course". I later wire her up and during the process tell her that my girlfriend just found out that she's pregnant and that we're very excited. "Thats great" she beams and asks me many friendly questions. When I ask if this is her first, she replies "First what?" "First baby" I state with the now creeping and familiar mojo-crushing gravity from earlier. "Pregnant?...this is a prosthetic, I'm not pregnant" I am reminded sometimes of that "demotivational" poster with the bow of a half-sunken ship jutting out of the water with the motto... "It could be that the purpose of your life is only to serve as a warning to others." Be warned, Steven
  7. Just joined Toronto's IATSE 873 Union and am now calling in my availability everyday via their automated phone system. I'm wondering what else I can do to get that 'first call' happen sooner? (Other than general Toronto FIlm Industry networking on Indie sets). Should I be calling up people from current shows seeing if there's a spot or just keep calling in my status and pray for rain? Thanks. Dennis Nicholson
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