ASK & DISCUSS INDEX

11 years ago - Franz von Habsburg FBKS MSc

Thanks. Start by joining the BKSTS (the industry's technical guild. Contact me direct to get their details. They're based at Pinewood) as a student member it whichever grade you think you are. They have monthly technical lectures (on the south bank) which should lead to top industry networking. The last lecture was all about 8k and a mention of 10k! When I was with Pathé we had a great dubbing theatre which, of course, had projectionists. They would have started in cinemas and good ones would move in to be dubbing mixers. You could also become a sound editor. By the way, to buy good s/hand kit visit bblist.co.uk for professional stuff. Cameras, recorders, you name it. Enjoy. Franz

11 years ago - Bruce M. Foster

Oh,and NEVER invest in a "load" of equipment. You hed to invest in the construction of a kit that represents the best that you can do.

11 years, 1 month ago - Kays Alatrakchi

Before you spend even on that, you might consider connecting with other sound mixers and asking them how the business is looking. If there's not enough work to go around, why bother getting involved in a dead end industry and investing your own money to boot? I always encourage people to pursue their passion, but there has to be a minimal of common sense approach to that plan if they want to create a financially sustainable situation for themselves.

11 years, 1 month ago - Paddy Robinson-Griffin

Tough question because I've seen it from both ends. Soundies are underappreciated, but critical...but then jobs through SP and the like are never going to be moneyspinners. They may, however get you in with a team who might be going somewhere and who can pay properly 'next time'. Sometimes it does happen, just get picky about which jobs you take.

That said, you trust a soundie to know their kit, and if it's up to the job - I would never ask one which kit he was planning on using, just if he says he already has the kit to cover a scene, take him on his ability. Soundies are usually the first to know if their kit is/isn't up to the job, so then you can cross-hire as needed.

11 years, 1 month ago - Bruce M. Foster

@Kays Alatrakchi
There are groups on FB, etc.

11 years ago - L. Sabia-Byrne

Phil, dont be put off by a poor Producers decision. Over time your work will speak for itself, especially if you are, as Dan mentions early on, competing with techies with all of the gear and none of the talent. Also the people that are happy with your work will keep coming back to you regardless of whether some of your Roland gear has the latest 1-0 suffix on the end. Im a Camera, Director, Producer and I ONLY start replacing gear when it starts to break down. At the end of the day we arent competing with Hollywood, as much as we like to think that we are and because of this a lot of us get sucked into a gear buying cycle. Dont do it! Just be REALLY good at what you do with what you have!

11 years ago - Franz von Habsburg FBKS MSc

If you want to get into professional sound, get a job as a trainee cinema projectionist. As they are, of course, also responsible for the sound. That's how Sir Sidney Samuelson started so is encouraged by the BKSTS who also run courses. Companies such as Odeon then send you on FREE training courses with companies such as Dolby. From there you could move into a dubbing theatre. To be a good recordist, you need, like a wannabe editor, to understand where it all ends up.

11 years, 1 month ago - Philip Quinton

Thank you gents for the fresh perspective.

Based on what you've said a compromise seems wise. I'm thinking probably just upgrade my mixer/recorder in order to be totally familiar with something more serious than a Zoom H4n (the Sound Devices kits look tempting), then hire in any additional mics as and when required.

It's a load off. I was looking at the price of decent lav mics with good receivers and transmitters and it is insane. Would have put me well over budget.

Cheers!

11 years, 1 month ago - Bruce M. Foster

Rent equipment before buying. At the same time have some core kit. And understand that producers are the enemy of providing a cost effective service. You'll know that a bag with two wires, a boom, three channel mixer and recorder is what they can afford, but they won't be happy unless you have six wires, two booms, 8 channel mixer and recorder plus ISOs, monitoring system, camera send, and cart.

11 years, 1 month ago - Dan Selakovich

Producers are sometimes idiots, Phil. They hire the person with the best tools, ignoring their skills and talent altogether. My suggestion would be to work a deal with a sound rental company. Explain the situation, and tell them you'll use them exclusively if they can discount the equipment 25%. Then you can always have the latest crap out there.

When Avid first came out, producers no longer asked about my experience. They asked "Which Avid do you own?" As if the equipment was going to edit their film for them. Any douche with a rich daddy can have the latest gizmos, but can they do the job?

Keep the equipment you have. And if the producer wants "the latest" the price will just have to go up, because you'll be renting. Give them your salary requirements PLUS the kit fee for various options. (Of course the gear you own will be cheaper). That way, they'll start to look at you as a production mixer and not a guy with nice equipment.