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Found 3 results

  1. Hey Everybody! Let me first say that this site has been an amazing resource for me, having been doing production sound full time for about 2 years now (Started right after I finished school) I know that there are tonnes of times I thought and applied what I learned on this site, it's a really amazing place and I'm so fortunate that people are so willing to share all their insights, mistakes, and experience. Now, I am asking for your help! I am a Sound Mixer/Boom Operator, but I have also found a new interest in Directing/Producing! I have launched the Indiegogo campaign for my Second short film, entitled 'iBrain', a futuristic short film in which the latest piece of technology does fit in your hand, it fits in your brain! We are on a 30 day campaign to raise $4000 to shoot the film this coming March and it would mean a lot to me if you could watch the video, share the page, tell your friends, anything you can do! www.indiegogo.com/ibrain I am excited to do my second film as the most sound conscious Director in Canada! Thanks so much guys! (I included a screenshot, that's me on the left)
  2. So in doing research I'm trying to pin point certain things and find the source. For example as a location sound mixer, it seems that most of the time we are brought in after the locations have already been locked in. Its seems most veterans say talk with decision makers blah blah blah and they will sometimes move etc...but when it comes to numbers... how much time and money is usually spent for a producer(s) (before production begins or shortly thereafter) to get rid of an old location and move to a different location and getting director/DP approval or whatever all over again versus staying in a location with bad sound and getting ADR. This is a creative question, but when it comes down to just pure money, which is what we all talk about on location anyway saying, "this location is going to cost you way more in ADR etc etc." Has anyone responded saying, "Well it will ultimately cost more in production time finding a different location that having to get ADR.: Must we always be bitter in cases where our services are most likely not going to be used in the final product or on set, or with you veterans are you at the point where you see this and you accept it with glee that your work will only be a scratch track. Have you ever blantantly told whoever that this location will turn out poorly no matter what you try to do and they replace you? Tim
  3. I have recently been running into a situation that I wanted to discuss with all of you. More and more I am getting calls from production saying that they, "Don't have a boom op in the budget." The last of these was a union spot for a large local hospital. Just today, I got a call from a production company wanting to do a spot for a major microphone manufacturer and was told the same thing. I find this an affront to our craft and a sign of ever lowering respect for what the sound department does as well as a general lack of understanding as to what a boom op must do. I know we have all run into the productions that think they can just "hire a PA to boom" and have enjoyed the disastrous results. The other problem is that production seems not to understand that the tasks of the sound mixer involve more than just "sitting there". It involves prepping slates, delivering and maintaining Comteks for clients during the shoot, writing sound reports, and so forth. So, I am writing to start a discussion about this trend and see how people are dealing with it in different markets. Now, to me, it seems that an ENG or reality show shoot would be the exceptions to the need for a boom op by the nature of the shoot. But, to be hired to shoot a national union commercial and be told that I won't have a boom op seems ludicrous. It seems a little late in the game to blame the economy for this sudden "shortage" of cash. It seems like the same old "shortage" we are always dealing with dressed up in different clothes. While I realize that there can never be a hard and fast rule, I wonder, why does the camera department still get an AC? Can't the DP just pull focus himself? Why do they get a DIT? Can't a PA be paid to dump footage to a hard drive? There is no shortage of office PA's, either. Hmmm. If you want to know where it is heading, I just got a call today where they wanted me to do playback for a mock heavy metal band, record background walla, and a principal talent delivering lines, but they don't want to pay for a boom op or a separate playback person. While it may be possible to do all this by myself, I have a funny feeling no one will remember the budget savings when we need a moment to stop everything so I can switch over to playback mode from live recording or vice versa. No one will blame production if the audio is bad because I needed a boom op and was not provided with one. What are your thoughts? Am I being unreasonable? Unrealistic? Am I just being a baby and need to swallow my pride and go ENG style for any shoot that requests it while the DP sends the 2nd AC for another iced coffee? Thanks for reading, Matt Hamilton
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