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Found 5 results

  1. I did a job Friday, Saturday and sunday of last week. We agreed to 700/12 Saturday and sunday and a half day (350) friday to setup mics in the car to make sure we are ready to roll at 6 am. So saturday we went 13 hours (1 hour of OT). No problem. Sunday we were 7 am call, wrapped at 3pm and then we reset gear and downloaded my card till 5. The producer asked that since we didn't do a full 12 hours on Sunday that we cut the half day and to not charge OT. I also took some tracks that needed clean up into izotope rx7 and removed some noise and reverb at no c
  2. We work in an industry of large ego's and personalities, usually in high pressure environments. Inevitably, arguments and tirades make their way onto set. What have you seen? How have you diffused the situation? How would you deal with an actor throwing a transmitter across set or a stressed out AD that insists on rolling without sound, etc. Would love to hear the horror stories and the creative solutions you've used on problematic sets.
  3. In the last couple weeks there was a mixer thread somewhere Facebook wherein a work-for-us-free producer was trounced in the best tradition of web trouncing. Pitchforks were employed with impunity. Digital blood was shed. I was appalled and embarrassed for us. My sense is that--beyond the natural scrum-i-ness of the internetz--"professional" mixers who search for and find work on Mandy's and Craig's List dig their own professional graves and oil the no-budget machine they profess to abhor. Even so, this is exactly the right place for student mixers to get work. Once you find these
  4. I seem to have an increase in calls from producers calling me for half day of work- The call usually goes something like this- 'It's only a couple of sit down interviews shouldn't take more than 4 hours what's your rate for just half a day? What do you guys think of this- I often feel that if I book a half day then it's not as though I can take another gig to fill the other half of the day and so I should be paid a full day. These gigs have pretty much taken me out of the loop for the day anyway.
  5. http://losangeles.cr...3452849709.html "Sound mixers get a bum deal. We have to invest over $10k to get decent gear and enough of it to be able to handle the demands of what production wants. We provide a valuable service that is even more important than your picture. Your film has dialogue, people want to hear it and hear it clearly. We try to do that for you despite poor locations, poor wardrobe choices, and sometimes, ridiculous shot composition. A camera crew is exactly that, a crew. Operator, 1st AC, 2nd AC. If there's no 2nd AC then there's damn sure a 1st. Sound mixers are apparently
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