ProSound Posted May 14, 2012 Report Share Posted May 14, 2012 I asked him where can he rent 8 wireless for $200? He was like I know it's low and you will kind of have to suck it up What a terrible attitude that is, i hope they find no one Quote Link to comment Share on other sites More sharing options...
Nicole Hankerson Posted May 14, 2012 Report Share Posted May 14, 2012 What a terrible attitude that is, i hope they find no one Our conversation almost got heated but I decided to just say it's best if I not except the job. Then told them have a great day. Quote Link to comment Share on other sites More sharing options...
geordi Posted May 14, 2012 Report Share Posted May 14, 2012 The 8 wireless is 4-in and 4-out to 2 different cameras. I suspected that they wanted more IFB than what they told me, I was told only ONE ifb. Now it is two... Maybe later it will be 3, 4, 5? The real fun is what they wanted with those 4 wireless hops to camera - Two DISTINCTLY different mixes, to the point that it sounds like two fully separate crews working far apart. The mix was to be as follows: Cam #1 gets talent #1 isolated on L, mix of talent #1 and extras (someone lav'd) in frame of that camera on R... Cam #2 gets talent #2 isolated on L, mix of talent #2 and extras (someone lav'd) in THAT frame on R... The boom? - Would be dynamically routed to the R mix of whichever camera's extras happened to be under it. I guess I was just supposed to magically route that through my 5-bus mixer? Whitney, I agree with you. I hope (and suspect) that they will find nobody. I was too shocked at their audacity to even laugh at them as I told them no and hung up. This isn't a job for just one mixer, b/c I will bet $50 right now that those two cameras will not be working close enough together for the wireless links to reach. They are beyond insane. Quote Link to comment Share on other sites More sharing options...
ccsnd Posted May 15, 2012 Report Share Posted May 15, 2012 this thread makes me happy. Quote Link to comment Share on other sites More sharing options...
ProSound Posted May 15, 2012 Report Share Posted May 15, 2012 The 8 wireless is 4-in and 4-out to 2 different cameras. I suspected that they wanted more IFB than what they told me, I was told only ONE ifb. Now it is two... Maybe later it will be 3, 4, 5? The real fun is what they wanted with those 4 wireless hops to camera - Two DISTINCTLY different mixes, to the point that it sounds like two fully separate crews working far apart. The mix was to be as follows: Cam #1 gets talent #1 isolated on L, mix of talent #1 and extras (someone lav'd) in frame of that camera on R... Cam #2 gets talent #2 isolated on L, mix of talent #2 and extras (someone lav'd) in THAT frame on R... The boom? - Would be dynamically routed to the R mix of whichever camera's extras happened to be under it. I guess I was just supposed to magically route that through my 5-bus mixer? We use to be asked to do stupid stuff like this pre multi channel iso recorders. Some companies just aren't on the band wagon yet with using a sound recorder yet, I hope they all get there soon. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted May 15, 2012 Report Share Posted May 15, 2012 We use to be asked to do stupid stuff like this pre multi channel iso recorders. Some companies just aren't on the band wagon yet with using a sound recorder yet, I hope they all get there soon. +1 But also pay recorder rates. Quote Link to comment Share on other sites More sharing options...
Michael McQueen Posted May 15, 2012 Report Share Posted May 15, 2012 hopefully this will be a wake up call to companies like that who think they can bring their "LA rates.."(thats what they say..) to smaller markets and try and take advantage of us. i bet they'll end up flying in one of their guys using a company kit. had the same thing happen with an NBC gig a few weeks ago. they came in expecting someone with iso recorder, 8 wireless and all this other stuff to jump at the chance to work with them. till they offered $310 for labor and like $200 for gear. there were maybe 6 people in the state that could handle that job and none of us would touch it. so they ended up having to fly in a staff mixer from NYC to cover the job at the last minute, probably costing them an extra $1000 in airfare and then paying his rate too. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted May 15, 2012 Report Share Posted May 15, 2012 Yes I have heard that so many times. "I pay $400 for labor and gear in LA" hopefully this will be a wake up call to companies like that who think they can bring their "LA rates.."(thats what they say..) to smaller markets and try and take advantage of us. i bet they'll end up flying in one of their guys using a company kit. had the same thing happen with an NBC gig a few weeks ago. they came in expecting someone with iso recorder, 8 wireless and all this other stuff to jump at the chance to work with them. till they offered $310 for labor and like $200 for gear. there were maybe 6 people in the state that could handle that job and none of us would touch it. so they ended up having to fly in a staff mixer from NYC to cover the job at the last minute, probably costing them an extra $1000 in airfare and then paying his rate too. Quote Link to comment Share on other sites More sharing options...
ProSound Posted May 15, 2012 Report Share Posted May 15, 2012 so they ended up having to fly in a staff mixer from NYC to cover the job at the last minute, probably costing them an extra $1000 in airfare and then paying his rate too. A lot of companies don't mind spending money but they only will spend it there way. So they won they stayed on budget with labor rate even though they paid $1000.00 for airfare. I have seen it time and time again. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted May 15, 2012 Report Share Posted May 15, 2012 " They are beyond insane. " the folks one the phone have their instruction: 'find a body that agrees to our rate'. Quote Link to comment Share on other sites More sharing options...
John Steigerwald Posted May 15, 2012 Report Share Posted May 15, 2012 "I pay $400 for labor and gear in LA" "Sucks for you this isn't LA.." Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted May 15, 2012 Report Share Posted May 15, 2012 "Sucks for you this isn't LA.." LIKE! Quote Link to comment Share on other sites More sharing options...
ShubiSnax Posted May 15, 2012 Report Share Posted May 15, 2012 Just got a call today for the same gig. I'll take it if they tack on a few hundred more dollars. With the shoot being 2.5 days away, maybe they will.. Quote Link to comment Share on other sites More sharing options...
ccsnd Posted May 15, 2012 Report Share Posted May 15, 2012 good luck to you then. Quote Link to comment Share on other sites More sharing options...
ProSound Posted May 15, 2012 Report Share Posted May 15, 2012 What does it seem that no matter what gear they want you to bring they only want to pay $200.00 I just got a call today for 788T 4 wireless camera link and 2 comteks for $200 a day they said most audio mixers were "agreeable to this" I told them I am not that agreeable but we are working on coming to a better rate we can both live with Quote Link to comment Share on other sites More sharing options...
Eric Toline Posted May 16, 2012 Author Report Share Posted May 16, 2012 We're talking the equivelent of brain surgery and rocket science here. Scalpels & fuses are not negotiable. Eric Quote Link to comment Share on other sites More sharing options...
José Posted May 16, 2012 Report Share Posted May 16, 2012 The 8 wireless is 4-in and 4-out to 2 different cameras. I suspected that they wanted more IFB than what they told me, I was told only ONE ifb. Now it is two... Maybe later it will be 3, 4, 5? The real fun is what they wanted with those 4 wireless hops to camera - Two DISTINCTLY different mixes, to the point that it sounds like two fully separate crews working far apart. The mix was to be as follows: Cam #1 gets talent #1 isolated on L, mix of talent #1 and extras (someone lav'd) in frame of that camera on R... Cam #2 gets talent #2 isolated on L, mix of talent #2 and extras (someone lav'd) in THAT frame on R... The boom? - Would be dynamically routed to the R mix of whichever camera's extras happened to be under it. I guess I was just supposed to magically route that through my 5-bus mixer? Whitney, I agree with you. I hope (and suspect) that they will find nobody. I was too shocked at their audacity to even laugh at them as I told them no and hung up. This isn't a job for just one mixer, b/c I will bet $50 right now that those two cameras will not be working close enough together for the wireless links to reach. They are beyond insane. Who was the genius audio supervisor to this project that proposed this idea? What a fool! Quote Link to comment Share on other sites More sharing options...
ProSound Posted May 16, 2012 Report Share Posted May 16, 2012 Who was the genius audio supervisor to this project that proposed this idea? What a fool! It is some stupid editor who thinks that syncing up double system audio is too time consuming. If you can believe it I worked on a show a few years ago where the camera op switched one channel to internal we were running a zoom as back up and post did not even want the file or know how to handle it. The Post sup was a older reality only editor and said we don't have time to deal with these files...... Quote Link to comment Share on other sites More sharing options...
sounddguy Posted May 16, 2012 Report Share Posted May 16, 2012 Here's another you can't pass up. $300 p/day based on 12 hrs. NASCAR driver behind the scenes and race day pit crew. Production Company from Atlanta will provide the Audio pack. Sound Device 552. Do you have reality TV experience? Quote Link to comment Share on other sites More sharing options...
geordi Posted May 17, 2012 Report Share Posted May 17, 2012 Saw that one, laughed at their stupidity and moved on. I've heard about the Nascar bunch before, they are just as insane as the MTV crew. Quote Link to comment Share on other sites More sharing options...
Michael McQueen Posted May 17, 2012 Report Share Posted May 17, 2012 All the work I do NASCAR based is good rate. I had a voicemail that may have been for that job but haven't had a chance to call them back but I'm already booked race week for Charlotte. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted May 17, 2012 Report Share Posted May 17, 2012 NASCAR media group are great. I have always had great experiences with them.... Sent from my HD7 T9292 using Board Express Quote Link to comment Share on other sites More sharing options...
geordi Posted May 19, 2012 Report Share Posted May 19, 2012 I seriously doubt those behind-the-scenes are from the Nascar Media Group. I've heard about these before and they always post about the same ad - low rates and last-minute. It just seems like a tiny production to me, rather than like what NASCAR is, a huge enterprise that knows what they are doing in media. Quote Link to comment Share on other sites More sharing options...
ProSound Posted May 19, 2012 Report Share Posted May 19, 2012 Here is another gem: They abuse you for 3 years work you to death and occasionally as a reward you get to do network news work. Last thing a camera apprentices cares about is getting good sound Are you ready to take your shooting to the next level? Go To Team is offering a unique opportunity to Production Shooters, Chief Photographers and local TV Cameramen. This position is designed for photographers that want to gain enough experience to shoot, run audio, and light at the highest level. We have successfully run this apprenticeship for nine years and seven of our former apprentices are now full-time Directors of Photography for Go To Team. This position will be based in Los Angeles, California and you will work regularly with our Senior Director of Photography, Go To Team Partner Skip Clark (original apprentice) for clients like Fox Sports and NFL Network . You will be working as a camera assist, running audio, and lighting while learning every aspect of high-end video production. At the end of the Apprenticeship, we hope to move you into a full-time Director of Photography position in one of our other markets. Although during a typical week you will work 4 ten hour days, overtime is a sure thing. Experience in pa, audio and grip work are a plus. However, a solid reel and hard working attitude are key. We often work odd hours on short notice and international travel may be required. Requirements: Passport, Vehicle, Strong Desire to be the Best. Yearly Salary: $28,500 ( Salary plus percentage of billables and NABET Union Pay for Network News Shoots) Term: 3 Year Commitment Quote Link to comment Share on other sites More sharing options...
ShubiSnax Posted May 31, 2012 Report Share Posted May 31, 2012 A follow up to the original MTV gig, I got a call from the PM yesterday and she said they ended up flying a mixer in. Too funny. On a funnier note, she asked me to work a different date, same show, but B-crew instead of A-crew. Then she offered me $1500 for the day with no wireless and no Comteks. Just MTR, slate, and mics on stands. Funny that A-crew could be working for half the price of B-crew, plus having to deal with all the wireless. Needless to say, I took it. Nothing like a set it and forget it type of day. Quote Link to comment Share on other sites More sharing options...
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