Where do you most of you post your audio clips?

S

sonofaresiii

Well-known member
Seems like it's much easier for me to find work as a recordist/boom op than as a cinematographer with my current schedule... but I don't have the video files of most of the audio work I've done, only the sound files. Rather than put a title card or something on them and stick them on youtube (which I can't imagine has the best audio quality anyway), where do you guys suggest I upload my sound files for when I'm applying for gigs?

(ps if anyone in the NYC area needs a boom op or recorder with a ntg-2 and zoom h4n, or has room in the budget to rent... hi, I'm alex!)
 
Alex, I don't post clips, or provide "reels". Since the work I do on set passes thru so many hands before it reaches the screen providing samples only clouds the water. I've had post shops make my work shine, and others that have made my work sound like crap. I provide my IMBD link, as well as links to films/projects currently in production. I'll also provide references to directors/producers/editors I've provided sound files to and let them speak about the quality of my work. Unfortuntatey, most will ask for a list of equipment, which I'm willing to provide and more unfortunately, it's often this list which gets me booked. Today's scene (at least here in Atlanta) is a lot of reality shoots, which means carrying lots of wireless lavs, and even for narrative work, directors lately are choosing more and more only med/wide or wide shots where I can't get the boom in. I resisted for quite a while before just going with the flow and adding more wireless channels to my rig. I tend to price myself based on the rental rate for my kit.
Since I do this as a moonlighting gig, and have a day job, my approach may not be considered typical, but several full-timers here in Atlanta have noted the same trend in needed a boatload of wireless lavs, and sitting with the bag on their lap, or a table, that's where their day is spend.
 
Hah, I've noticed the same thing in the camera world. "Yeah, I usually shoot on my 7D, I've got a link to my reel and I really feel what sets me apart--" "You've got a 7D?! You're hired!" "....uh, okay. cool." (before too long i'll be getting passed up for the c300 though, i'm sure)
But I'm not looking for any serious sound gigs, just dayplayer stuff as my schedule doesn't allow for any shoots more than a few days, i've been seeing tons of student qualifying films and short shoots that'll be good for me-- an extra fifty or hundred bucks when i don't have anything else to do, stuff I can more than handle but way below the price range of most people with more professional gear and expertise. i've certainly considered investing in better audio equipment, because i'm sure that alone will get me a few extra jobs-- but ultimately, i'm not looking at sound as a career, just another opportunity for a couple bucks so i don't have to go work as a barista somewhere while i'm in school. and hell, it's always fun making a movie no matter what job you're doing.
thanks for the info though.
 
If it is production sound work, then yeah, there really aren't demo reels for that stuff. Just your resume and IMBD listing. I've found that in the production world half of it is being a great sound mixer, and the other half is building good, lasting relationships. Many of the top sound mixers work with the same directors over and over. Ron Judkins does most of Spielberg's movies. Jeff Wexler does all of Cameron Crowe's movies. Mark Ulano does John Favraue's flicks as well as Quentin Tarentino. I would imagine the same goes for other crew as well.
 
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