Posts in Live Q+A Questions
Q&A #27 - 1 Change To Make Sound Devices SL6 Power Save More Bag Friendly

Unfortunately as great as Sound Devices Powersave function is on the SL6 is to increase the time on it, I can rarely when it is in my bag change it without running out of time. It's great that it has quick boot but if the time was able to be 20 seconds then my recorder and radios would be extra safe in long takes or power changing situations.

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Q&A #26 - The downside of line inputs without trim pots!

In regards to the Sound Devices 6 series mixers (633 / 664 / 688) what are the downsides of any inputs without physical trimpots? The trim pot is what you use to increase or reduce gain to your track. The tracks without dedicated trimpots on the 6 series recorders only accept line level and though gain can be changed, it is through a menu on the screen while recording, thus limiting you to changing one at a time.

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Q&A #22 - People think cameras are more expensive than Sound.

When it come to crewing and getting a film together the most expensive element of the film is usually the crew cost for labour followed by rates for different departments. Lots of people however with the price of mid tier cameras dropping all the time automatically think sound is doing the exactly the same thing. This is because they have worked with lower cameras and also where the sound was done on a zoom.

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Q&A #21 - How can we all better inform producers about realistic budgets?

Time > Money > Quality > Time > Money..... Depending which outcome you want you need the other too. If you want to make a lot of money on a project then you need time and quality to be able to market it. If you want quality you need time and money. If one is missing then you have to compensate more with another. 

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Q&A #18 - How much reverb is too much reverb in a filming space?

This is a very broad question but I would use the rule of context. If the space is meant to be small and intimate then filming in an aircraft hanger is going to ruin that. I have never had much success taking out lots of reverb so its all about communicating to the client and going on a recce so you can try to get them to choose a new location.

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Q&A #13 - Are IFB/IEMs essential to own?

This was a question from one of the previous Q&As about how essential i think IFB/IEMS are. I took this to mean buy some to use in equipment on many jobs. For that reason I would say it wouldnt be something I would look to buy early on but they do come in handy for bigger jobs or commercials when clients and agency are wanting to listen in while watching video village.

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Q&A #11 - Is the SuperCMIT worth the extra money?

I own a SuperCMIT and have done for over a year now and do think it is an excellent tool because you are still able to record an unprocessed channel and a processed channel with its noise reduction algorithm. This means that at the worst case if post production (often me doing it) I can use something like Izotope's RX5. If I am not editing then I can give them a clearer signal that the client love.

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Q&A #10 - Why Are There Different Rates For Different Types Of Content?

I answer this question by the economics of the content basically. Commercials pay more because the upside of the piece of content is much greater than the cost of it. If you do a worldwide commercial for a popular brand then they are going to make, realistically, a ridiculous multiple on the amount spent on the commercial, even if they go 2 days into overtime for everyone. Also the complexity of these projects is usually higher. 

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Q&A #7 - Is it Essential to move to London for UK work?

I was asked if it was a sensible move to go to London to further my career. For me it was because I was based in Dundee in Scotland before. Being 500 miles away from what is arguably the Cultural capital of the UK It just made the most sense. Here are a few factors you have to weigh up when moving to somewhere so expensive and big.

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