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- 12 replies
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Hi Everyone I thought it might be useful to start a topic on protecting our ears, if anyone has any tips on how to avoid unnecessary levels, thumps, bumps please share, do any of our members use limiters on the headphone output ?. Often depending on the script I come home with tired ears to say the least, and any help to protect our most precious ears would be of great value to everyone. Kindest Regards Brian
Last reply by Bondelev, -
- 2 replies
- 527 views
Hello there, I've been off work for a few months due to illness so now I'm trying to get back into the game (and put some cash back in the bank managers pockets!). Going to cut right to it and ask-how do people working for the large broadcasters here in the UK get in to work for them? Up until now I've been doing drama work and doco/factual but now want to kick drama off of my radar and just work on documentary/factual programming and ENG work. My big problem is that I don't know anyone here in the UK. I've been lucky that I was working in Ireland and abroad but living in London so now I want to concentrate on my new "local" market. I joined a diary/crew agency for …
Last reply by Bash, -
- 6 replies
- 856 views
http://gothamist.com/2010/05/05/cops_nearly_shoot_actor_playing_con.php -Richard
Last reply by Marco Lopez, -
- 4 replies
- 715 views
As an independent freelancer such as myself, I'm thinking about a new pay schedule that would make more sense to my clients. I want to charge by the word.. I'm thinking about 70 cents per word is good.. Music Videos and B-Roll crews would benefit the most, while I can still do well on my bread and butter stuff like Reality TV Shows, Dramas, and Documentaries.. What do you guys think? -Richard
Last reply by Jim Gilchrist, -
ADR on set 1 2
by larry long- 1 follower
- 35 replies
- 3.6k views
The show I'm starting has requested that we build small ADR studio on set at stage and do ADR while we are shooting. Does anyone here do this? what is a simple ADR setup these days? Huh? This is first season episodic.... Do they really think I'll have time? LL
Last reply by Marc Wielage, -
- 1 reply
- 666 views
I did a documentary job this week with a cameraman using a Canon 5D. I was recording double system with an IFB on the camera. The situation included an exciting morning inside an office complex where all the employees were celebrating a very important event regarding the approval of their medical product. As the cameraman and I weaved our way through the popping corks and high-fives trying to catch the unfolding celebration, we were at first confused why the people when seeing the camera, would stop what they were doing and saying and just stand there with their arms over each others' shoulders and smile at the camera. We finally realized what was up when someone inform…
Last reply by Brent Lestage, -
- 27 replies
- 2.4k views
Have serviced many RED shoots over the last 2 years Normally feed guide audio by radio. I record separately. With a build 21 camera last week - camera locks up and says "sound error" Did experience this with build 19 Anybody with similar experiences/comment solutions ?? mike www.mikewestgatesound.co.nz
Last reply by Freeheel, -
- 3 replies
- 708 views
http://home.comcast.net/~steveham21/turbo.mpg Eric
Last reply by Derek H, -
- 8 replies
- 1.1k views
Hi all, sorry if my post is too simple or seems ridiculous to any of you. I mainly do audio mixing taking audio directly to a video camera so I have no experience with timecode I see you all talking about. So I am trying to educate myself what is the normal setup you use. I take it you have to have a video camera that will accept code or output it? What I do not understand is the chain. Normally do you use a Denecke slate to generate code to the camera and then to your audio recorder? Is this all cabled together? If one of you has the time I just would appreciate how you normally jam code to a recorder and camera. Thanks in advance.
Last reply by Marc Wielage, -
- 17 replies
- 2k views
Okay so I'm a feature / doc guy and I'm starting my first (besides the pilot) episodic series. For the first episode we tech scouted and had a nice production meeting - but what about all the other episodes?! I know there will be location issues as well as script stuff (lotsa music n playback) - when in Sam Hill am I supposed to get to that?! What's the norm? I can't afford to send any of my team whereas grips & electrics have plenty of folks to send to those scouts... When I asked the UPM about it he said the tech scouting will be done on off-days and I won't be there, I know won't have any time to read a script during the long-houred days, and I ain't wor…
Last reply by Izen Ears, -
- 3 replies
- 766 views
Hello every one , I know that this topic had bean couple times before , so my apologize for bringing it again , but I need help with this . Editor ask to have time code from my SD 744 on two RED cameras , so my question is , can I do it just by time code cable connected every time camera turn on (changing battery ) jam it with red , or I need ambient Lock-it ACl 203 for keeping timecode stable . As I never this way before (usually no time code , just regular slate ) , I just wonder what do I need (or how to do it ) so I can accomplished what they are asking . I will send by comtek "guide track" . Thank you Novica Jankov
Last reply by noni, -
- 17 replies
- 1.7k views
I'm just starting my career as a sound mixer, coming from a backround of post production. Many people are telling me that sound mixers are not getting paid as much as they did years ago. I realize that some people are desperate for money and are charging way under what they should be, which in turn is hurting the industry. I guess it depends on if you mix for television or film, but I want to make sure that the future for sound mixers is still a promising way to earn a living. Any thoughts?
Last reply by Zack, -
- 9 replies
- 1.4k views
Today's View on the set!.. Just North of Wilshire Blvd. And, yes.. all 3 girls were wired. The director actually told me that he didn't want to call attension to filming, by anyone seeing a boom... As if 3 super hot chicks in their underware didn't scream attention. Life is hard.. -Richard
Last reply by Richard Ragon, -
- 9 replies
- 1.7k views
Hey Guys, I just got a Zoom H4n. I'm wondering how guys have it set up from your 442's? I'm having trouble getting the levels right into the Zoom. Right now if I go just past the noon position on the faders they start to distort. I want them to be able to match the same as the ones going to camera. At the moment I'm not really using it for anything. I'd mainly like to use it as back up if requested. I just want it all sorted out now so that its not a last minute thing if I get job requiring it.
Last reply by Eric Toline, -
- 4 replies
- 1.1k views
I don't know about you, but I've had it with Production Notices on Facebook. They seem to be the new version of low ball/Non-union/student/freebie film work that is all over Craig's List. Here is the latest example: Production Notices WORK ALERT! KENTUCKY - PROD ASSIST - Los Angeles Based Production Company seeks 2 production assistant for a travel show shooting in Paducah, Ky on Tuesday May 4, and Wednesday May 5. The Rate is $225.00 for a a 12-hour on the 4th and a half on the 5th. One PA will be handle releases and the other PA needs to have grip experience. If you are applying for the Grip PA position please mention your grip experience in your email. Please send y…
Last reply by Npoberaj, -
- 2 replies
- 781 views
Maybe you've seen this before but I thought it was pretty spot-on.. Kind of funny, kind of not funny at the same time.
Last reply by Marc Wielage, -
- 9 replies
- 1.1k views
Hey Guys, i was due to start a seven day shoot here in Ireland (I'm based in Ireland) today with an American production company. The shoot has been pulled as of last night because they cannot fly into Ireland because of the zero flights thing in Europe at the moment (there is a volcano in Iceland creating ash which has grounded flights throughout Europe). It's annoying because i was looking forward to the shoot and also because i am loosing out on a weeks work. i signed a deal memo with the company. i want to talk to them about some form of cancellation fee and i was wondering if people in the states could advise me what is appropriate. there is a thread w…
Last reply by graham, -
- 9 replies
- 1.7k views
Got a shoot coming up soon that will be shot with green screen. Should I need to worry about taping up my boom pole/mic to help or is this unnecessary? Thanks
Last reply by jason porter, -
- 6 replies
- 989 views
This question is directed at our esteemed resident expert, Marc Wielage, regarding show shot with HD cameras. My last experience, which was with the Panavision Genesis (tape based) camera, was originally going to be done with another camera that records to a non-tape based medium (either hard drive or solid state storage, I'm not sure which). The 1st AC on the job told me that everything shot on any of the other cameras that do NOT use tape have to have the material transferred to tape at some point --- this is a requirement of the bond company he said. The bond and insurance companies evidently do not trust a totally file based workflow and insist on physical archivable …
Last reply by Marc Wielage, -
- 1 follower
- 19 replies
- 2.3k views
I posted this topic on the ramps, but i'm not really satified about the answers friendly answers but not very accurate. So i post this question here : There are few weeks ago i was started the first location recording for a documentary film, the location is a wide beach along Atlantic..and i did some itw and wild sound. In 4 weeks the second shooting part will begin . All things was well with 3 wireless Lectro and my preferate well mic mkh50 for booming. Recorder is a nagra6 i do record some iso tracks and send a mix to the cam via hf. My question is: how can i improve the s/n ( dialog/sea-noise) ? The actual s/n is around 30db(+-10db) , i allways pay atten…
Last reply by soundtrane, -
- 15 replies
- 1.6k views
Hi, it's my first time posting here, and I hope not my last. I've been getting some valuable information by reading others posts here. I know questions about insurance have come up before, but I'm still uncertain. I live out in Phoenix, Arizona and have done some independent features, commercials, etc. Nothing to the point that it is my full time job... yet. I was wondering if I should get insurance on my sound gear. I heard from a seasoned veteran out here that it is a waste to get insurance. He said most of the shoots have production insurance and your gear is covered under that. Lately though, I've been paranoid. I have all the usuals, 442, 744t,…
Last reply by studiomprd, -
- 3 replies
- 758 views
Every time the Award Season begins I always think about the articles that will appear in Variety and major newspapers on the Motion Picture Academy's nominating process determined by the preferential voting system. "If you'd like to sound smart and fancy -- single transferable voting. The process was selected in 1936 and has been in use ever since. It starts when the members of each branch select their five favorite performances or pieces of work in order of preference for their category. When these ballots arrive at PricewaterhouseCoopers, they're sorted by hand according to everyone's first choice. In order to be deemed nominated, an artist or movie must receiv…
Last reply by Scott Smith, -
- 1 follower
- 2 replies
- 1.4k views
Does anybody knows if it is possible to create new template for Wave Agent to use as sound report? Maybe i need to figure out how to use CSV files to import the info into Excel or Word, does anybody knows some ressource on how to do this? Thank you Pascal
Last reply by Philip Perkins, -
- 1 reply
- 645 views
Looking for a reputable place to rent a couple of wireless mics in Atlanta for a couple of weeks. Any suggestions?
Last reply by ProSound, -
- 6 replies
- 862 views
I'd like to update this description of a college level class in "Production Sound for Movies": "This course covers the fundamentals of sound and provides an introduction to using sound practically and creatively. Students will be trained to properly record sound for production. Course material will cover: sound theory, including the differences between sounds and pictures, and the value of perspective in sound; development of sound from its beginnings to new techniques and systems found on today's sets, in theatres, and in the home; the tools used in production, including microphones, booms, mixers, tape, and recorders; the sync pulse and time code; recording…
Last reply by studiomprd,