All Activity

This stream auto-updates   

  1. Past hour
  2. Better consult the higher ups and get a schedule and figure out what you are actually shooting and when, They might be figuring all this out on your breakdown/setup time. Typically one brings the mics and cables to cover--individually-- each room you're going to be in; set them up before everything is showtime and take the camera from room to room. In their minds a breakdown setup takes a second; in the real world it is different I would have budgeted it the way I indicated, set up everything and go from room to room, which means audio budget and a second pair of hands. If they balked at a realistic budget and tried haggled back to doing it the hard way I would tell them to find somebody else.
  3. Sundance-winning film sound mixer reveals the power of dialog editing, sound design, and audio mixing. Click here for the video The 5 Five Steps of Audio Post Production: 2:20 Sound Editing 3:05 Spotting Session 3:37 Dialog Editing 7:03 Sound Design 11:08 Sound Mixing ----------------- Ugo Derouard is a Sound Designer & Supervising Sound Editor and has been successfully working in Hollywood since 2006. Over his career, Ugo has worked with A-List Directors and Music Composers, on Award-winning Films, TV Shows, Commercials and Documentaries since 2002. Ugo’s work as a Supervising Sound Editor and Sound Designer has been featured many times at the Sundance Film Festival. In 2012 for the film "The End of Love" featuring Mark Webber & Michael Cera, again in the 2014 “Life After Beth” with Aubrey Plaza as well as the 2015 Grand Jury Winner “SMILF” with Frankie Shaw and Thomas Middleditch.
  4. Patch into the house console.. and hope for the best. THIS thread on another A/V forum may be helpful:
  5. That does not make any deference w/ made in China products I guess... despite the US 'home' office. The 600mHz band is currently legal.. but not for long.
  6. Today
  7. Ha. None scheduled;~) CrewC
  8. Yesterday
  9. Was it in Ext TC with a Lockit etc hooked up when this happened, or jam synced only? Frame rates matched? Cables good?
  10. After updating my RF Explorer to firmware 1.20 I noticed that the battery charge only reaches 2/3rds I contacted the agent in Australia and another battery source in the USA "We cannot ship a lithium battery to New Zealand" were the responses. I guess that if I ordered a new unit complete with battery installed there would be no problem!!!??? Any suggestions folks? mike
  11. Watching "The Fall" last night caused me to realise that using lavs actors can get away with very low level deliveries. Fine I know that the dramatic intent of a scene can require that but I wonder if it then becomes a habit. Low level delivery causes the tonality of a voice to be lost and similarly this tonality loss has become a feature of the way that many young women talk, with the gravel sound caused by glottle rattle. It's a very ugly phenomenon! mike
  12. All of my recording experience is with pretty close micing of dialogue or music so I'm pretty unsure what the best option is for a work situation I have coming up. I spent a lot of time trying to do searches for threads or articles about this but keep getting results for situations that aren't quite what I'm looking at (either students wanting to record lectures for notes, or business people who want to use lav type mics for meetings or just operate through a PA system). I'm sure this is a pretty amateurish question really but I don't want to make any assumptions about how various mics will work in situations outside of my experience with them. I'm going to be filming parts of a small conference coming up at the end of July. I won't be able to actually check out the space until just before the event, if I'm able to do it in advance at all, because I'll be traveling from out of town for this. But basically I expect to be looking at a combination of medium sized classrooms (30-40 people probably) and small-ish lecture halls (100-150 people) with panels of speakers in each. I'm guessing for the former we'll just be using voices with no built in sound system, and some sort of handheld mic set up for the latter, passed between panelists. I'll be fairly flexible about where to place the camera and mic set up (lens variety is not a big constraint) but for various reasons lavs, micing the amps, or running sound from in house system are all unlikely to be possible. I'll be filming with my Sony A7rii which has not great internal sound to say the least, but I have a Sound Devices 702T to record audio with. I need to be able to set everything up together in one spot, and the faster the set up and breakdown time the better, as I may have to move from one room to another during break times that only last 5-10 minutes. My question is just what kind of mic situation (single or stereo either one) is most likely to cover all my bases in terms of getting good usable from varied sources (either coming from a PA system/amps at side or top of room, or directly from projected human voices in front of room), where in some cases the main source of the sound may be coming from the same direction the camera needs to be pointed and in others not. We don't have a budget for a dedicated sound person but the closer I can get to a clean and impressive sound that can be used for posting professional seeming videos of conference sessions to Facebook, Youtube, etc. (doesn't need to be like narrative film quality or anything) the better. Some audience/reaction noise is not only OK but probably desirable (especially if I want to film parts of Q&A in addition to main speakers), but it needs to be under control compared to sound from front of the room. I own a Sanken CS3-e but I'm assuming a highly directional mic isn't the best bet here (though maybe I'm wrong!). Is some type of stereo set up what I need and if so what exactly? Cardiod or wide cardiod in XY, AB omni, or an MS set up, or...? I'm pretty familiar with what mics are out there (and how they're used for music and close dialogue recording) but I just have no experience with this type of recording situation and would really appreciate feedback from someone who does. I could likely rent whatever I needed so am pretty flexible in that sense. Another consideration is that I'm looking to buy, for myself, a stereo pair to use for ambient and fx stuff for narrative film work (hobby projects) and also for instrumental music recording, and have been looking at either a pair of Line Audio CM3s or a matched pair of something like AKG blueline or MBHO 600 series with variable capsules, so if either of those options would serve me really well here, it might be additional motivation to hurry up that purchase. But I know that also contradicts what I said earlier about convenience of setup/breakdown, which would favor a single mic body situation (and especially one that I could mount in the camera hot shoe using a Rycote Universal Shotgun Mount, which I already have--even though I'd likely be recording to the 702T and not in camera). If it would serve well enough, just buying something like a Rode Stereo Videomic used would also be possible, but I'm skeptical of anything that requires in-camera audio recording. Sorry for a long post! Thanks in advance for any feedback on what I'm sure is a really obvious question to people with more varied experience than mine.
  13. Blocks 24, 25, 26 will eventually go away, forced off the air by both regulatory mandate (FCC rules) and by physics (the cell transmissions will blow you off the air). That will take time - how long depends on the speed of the execution of the auction reallocation of TV stations and the speed of infrastructure construction by the cell companies who won spectrum in the auction. The ultimate regulatory deadline is July 13, 2020. As far as affecting production for wireless manufacturers - it means we are discouraging US buyers from buying anything in the 600MHz bands now - Blocks 24, 25 and 26 (Band C) - unless you have a valid economic reason to buy now and change later (long term contract that gives you a good return on buying now and using for the next three years as an example). These blocks are still sold elsewhere so we are still building them but we must cease selling them in the US by October 13, 2018. As far as the rest of the 600MHz spectrum NOT owned by T-Mobile (who has the most ambitious implementation plan) - there are numerous other buyers and their rate of adaptation and implementation will vary. Some may not even be up and running by 2020 - it's very hard to predict the future - as others have pointed out, the 700MHz band is not yet fully implemented and it has been 8 years. So, if I owned a Lectro block 26, what would I do? I would first check to see if it can be block changed to a lower block - that is certainly a more cost effective method than any rebates or trade-ins. Several recent models still have that option available. Check with the factory. If so, then wait until you have a good time for a changeup - (you have until 2020) and then get it changed. If it is a really old legacy product where certain parts are no longer available so block or freq changes cannot be done, then I would consider selling it ASAP before the rush or working it to death until it can't be used any longer (legally or physically, whichever comes first), then selling it overseas via eBay and upgrading to the latest generation. If it is THAT old, you got good life out it and an upgrade to the newer gear will give you new capabilities. The good news is that you don't have to act immediately - but act eventually you must. There's no rush, no panic - you will simply notice it getting tougher to us as new stuff starts firing up. Gordon
  14. And the 620-670 is going away. and that FCC-ID number is .......... ?? It should be on a label on either transmitter or receiver. Generally a 6 character alphanumeric - the Label will also have the frequency range
  15. More grandchildren?
  16. For the first time in quite a while it's looking like I won't have a series this year, so I'm available to day play on anything that shoots in or around Los Angeles. Thanks Mick Fowler 805 402 1227
  17. I hope to attend this year but ya never know what comes our way. CrewC
  18. JW covers current technique on this kind of shooting pretty well (I would only add the "thumper" technique, which would not have worked in this scene anyhow), AND the point that with talent @ the level of these folks "all of the above" would be expected to be available as-needed or as-requested. If you haven't already, do check out Steve Morrow's interviews about how he recorded "La-La Land"--he used pretty much all of these techniques at one point or another on that film.
  19. Scenes that have music and singing on camera it is often difficult to determine how they were done. Typically, playback tracks are used, tracks where vocals and music have been recorded in a studio and then these tracks are played back on set and the actors sing to the playback vocals. Singing is also done, quite often, live, and in these cases the singing voice is recorded on set (the production sound department) just as one would record the speaking voice (dialog). This live singing may be along with a pre-recorded music track that is often fed silently to a hidden earpiece. If the source of the music is on camera, a band for example, the whole scene may be recorded live including the band playing. There is also the possibility that several techniques are employed, one scene may require playback, another scene may have live vocals up against pre-precorded music, etc. When viewing the final result (the audience) the techniques employed should not be obvious and should serve the overall tone and feeling for the project --- it is only the experienced and knowledgeable sound person who will be able to take apart the scene and speculate on how it was done. There is a whole lot more that can be said about music and singing and how it is done for movies and television. What I have stated above is just a rough overview in response to JBond's question about the video clip.
  20. I've seen this video before. Very cool. I'm a UA guy in my home studio. Love their stuff. Would love some vintage hardware from them. Someday hopefully. As a hobbiest I have recorded many in all manner of modern ProTools style and a few times in the 50's style with the whole band going for the magic. Less can be more in this day and age of unlimited tracks. CrewC
  21. These knobs would look cool on my Nomad...
  22. Mark I will tell you a long held secret because you asked. The Nagra II playing is just an allusion made possible by 1) Video starts, recorder is off. 2) Turn on the recorder and the reels start turning. 3) The sound comes on but is soft. 4) Then I turn up the volume. 5) Showing the speaker makes it seem like the sound is coming from the speaker. 6) Shutting it off in the end after the music stops. The windup Nagra II is just turning the reels by the spring wound motor inside, No other power. The sound is coming from my IPhone on me under the camera. In the end the tempo of the song slows down and so do the reels, almost to a stop. I liked that part it matched the music. I liked the video and the song but there were many mistakes that I thought I could correct to make it a better and more realistic video. I attempted to redo the video but I was not happy with the outcomes. There was always something and if it was not that it was something else. There were parts that I could not duplicate in the original video. After each try I had to rewind the tape by turning the Nagra over with the rewind crank in the bottom. Then windup the motor again. each time was a complete reset-up. After everything I ended up using my first attempt the video you see. It was my attempt at being the writer, producer, director, cameraman, and Soundman. There were so many arguments between the group. Sometimes the takes ended at turning on the recorder and sometimes it wasn’t until almost the end I would yell cut. As the song goes, I started drinking alone. I quit and walked off the set in a heated exchange of words. This line of work is not for me. Having many recorders does not make you a Soundman. I have been happier ever since. As for the IS Yes they did have a Stereo IS for Law Enforcement only.
  23. Of the bands you list from their manual, the only ones that are legal for operation in the US (assuming those units have FCC type approval) are: 518-542 572-596 620-670
  24. JBond, I am amazed at how fine the Nagra II sounds in your video. How frequently do you have to wind it up? Love those reels. Regarding the IS, I do not own one, but they look very beautiful. Did they ever come out in stereo? Congratulations!!
  25. Worry, no. But, be aware that there my be testing on sections of the 600mHz band. Plus there are many unknowns in how the TV repacking, scheduled to take place over the next three years, will affect us.
  26. Ahhhh . . . Merit You Tube's 'view-tracking algorithms' ? (e.g. - While technically not the "50"s style" per-se ... This was in this morning's "YT recommended for you" 'in-box' . . . )
  27. Hi There Just wondering have any one experience this error message from Alexa sxt(latest firm ware) running 3.4k raw file. Picture attached below.any way to work around it. Thank you Wp
  1. Load more activity