Audio Help

trueindie

trueindie

Audio dudes - Alcove, APE, etc.

Please rate this gear list for me. And kindly give me your idea of someone who uses this equipment.

Gear List:
• Sound Devices 302
• Schoeps CMC6-U with Cut1 Filter
• Sanken CS-2 Shotgun Mic (Equivalent to MKH 416)
• 2x Sennheiser G3 Wireless Sets
• 2x Sanken Cos-11 Lav Mics
• H1 and H4n digital recorders
• Boom Pole and Shock mount + windscreens
• Breakaway cable
• Cases, bags and harnesses

Thanks much,
Aveek

Edit: His work looks solid by the way.
 
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Decision between two guys

Guy 1: Superior on Paper
System: Fusion 10 + DPA 4017B-R

He is usually hired as a mixer and not a boom operator.
He wants to use only a boom and no lavs. He says its overkill given my schedule. Also, he says, it's only the Americans who want 10 iso tracks. He wants to give ma a boom track and a mono-mix.

Guy 2: SD 664 + mkh 416
He is green. Has only worked on shorts so far. He wants to be involved in a feature. He wants to give me 4 separate tracks if I want.

I'm only paying $250 per day. Guy1 is an IATSE member and also will confirm with me if he can guarantee me the days I want.

A little bit more info on Guy1. He initially told me that he didn't see why I would need lavs in such a controlled environment (by the way, he is the only sound guy who I talked to who'd read the whole script). But at the end he added that he could add a couple of lectronics wireless lavs for an additional $100 per day. I didn't get that part. How does that jive with the idea that I didn't need any lavs?

Any advice on how to think about this would be appreciated.

my schedule can be found here: http://thegirlwithoutasong.com/wp/calendar/
spans October 27 through Nov 7.
 
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trueindie said:
He is usually hired as a mixer and not a boom operator.
He wants to use only a boom and no lavs. He says its overkill given my schedule. Also, he says, it's only the Americans who want 10 iso tracks. He wants to give ma a boom track and a mono-mix.
Click to expand...

The majority of the time it would be the boom track which is used in the final mix but having lav tracks provides a valuable option in cases where the boom has too much noise. Having lav tracks may not eliminate the need for ADR but it will definitely reduce ADR requirements. As I said previously, it is standard professional practice to record boom and lavs and it's certainly not just an American "thing". The implication of his statement is that he may not have as much knowledge/experience of editing/mixing as suggested and that if he has even less experience of booming/PSM he may effectively be as green as Guy 2.

trueindie said:
But at the end he added that he could add a couple of lectronics wireless lavs for an additional $100 per day. I didn't get that part. How does that jive with the idea that I didn't need any lavs?
Click to expand...

You would need to check, but off the top of my head $100 per day for lectronics wireless lavs seems pretty reasonable. I don't know enough about your situation (filming environments, number of takes, time & ability to record ADR, Guy 1's booming skills, etc.) to judge whether or not it's feasible/realistic to not use lavs, that's a decision you're going to have to make yourself, based on the $100 per day lav hire cost vs the time, cost and degradation involved in having to do more ADR. As I understand it, Guy 1 is saying; in his opinion you can get away with just using a boom but is offering you the option of using lavs if you require (at + $100 per day). Obviously it would make his job easier if he doesn't have to use lavs and with his lack of booming/PSM experience an easier job might equate to fewer mistakes?

It's difficult/impossible to advise which of the two Guys would be better. You seem to be veering towards Guy 1 and from what you've said he maybe does have a slight edge over Guy 2. However, they are both fairly green when it comes to production sound and even if guy 1 is a little less green, that *might/could* be offset if guy 2 has more natural talent and/or is more eager. In other words, it's a bit too close to call without chatting and getting to know them a little better.

G
 
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Since you're in Toronto you could go to Trew Audio (although they ship anywhere in North America); they do Sennheiser G3s with a Sanken COS-11 lav for $40/day, $160/week, $480/month. They have Lectrosonics, etc. as well for higher rates. Most production sound folks have their own gear that they rent at 25% to 50% less than standard; so your Guy 1 should be renting a pair of G3s with a COS-11 for $40 to $60 day, with the appropriate week/month discount.

You should not be charged for the production sound team having to use lavs; they work by the hour/day, not what they use. The time for which you've hired them is YOURS to spend. If you want them to spend time wiring up lavs, that's your decision, and they are being paid to use whatever gear you've acquired for the shoot.
 
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Thanks guys. The context and the info helps a lot.

APE you're right. I was veering towards Guy 1. I had built up an image in my head about him and was thinking that he might mean that I don't have to worry about sound.

But Guy 2, on a personal level, is a much better match. He's young, has a decent job, purchased his own gear, and seems forthright and eager. We definitely clicked.

I'm giving myself another day to think about it.

Thanks again.
 
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