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Hi All, wondering if anyone has any firsthand knowledge of shooting in Somaliland. Apparently it's much safer than the rest of Somalia, but I'm still gathering info before I make a commitment... And no, I don't care which Lectro Blocks will work in Hargeisa... More interested in general health, safety and security precautions on a shoot that will do its best to avoid dangerous situations. Thanks, Brent Calkin
Last reply by studiomprd, -
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Just caught this on another discussion group: http://www.aes.org/sections/pnw/laws.htm Oh, there's a couple of dozen there that apply too well to the movie business. They're funny, but some are sad and wise as well. "When operating in the vacuum of a studio, time moves faster than anywhere else in the Universe." "No matter how fast and effective an audio engineer works, to the paying client it's like molasses." They left out a couple of my favorites (which apply to all of life, not just sound): Sturgeon's Law: "90% of everything is crap." and: Teslacle's Deviant to Fudd's Law: "If you push something hard enough, it will fall over." And anoth…
Last reply by Bondelev, -
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Article Link
Last reply by john.e.perkin, -
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Hey guys, Here's a booman you wish you never hire! http://www.todaysbigthing.com/2009/11/04 Perhaps you've seen this video. But anyway, here it goes for those who hasn't!
Last reply by Izen Ears, -
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I think I've heard of this happening, where there's a little $3m or under movie that a sound mixer will sign up for at a pittance of their normal rates, but get some points. Then, when the movie sells for DVD or limited theatrical or some distro deal, the sound guy gets a check that is potentially way more than if they had gotten their street rates. Kind of like deferred but different because it's more like a producer getting a cut of the profit. I'm wondering if anyone out there has ever negotiated this kind of deal, and has it worked? Does it matter if the show already has a direct-to-DVD deal before sound makes their deal? Dan Izen
Last reply by Izen Ears, -
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In a shooting whenever there's a very long shot, I get the creeps. Especialy when the actors start to talk way back and they keep on their dialogue lines as they walk towards the camera. I use radio mikes to deal with these situations, but there's always some clothing or some wind breeze or backround noise. So the question is how you guys deal with this situation? Omnidirectional radio mikes, cardioid? Wild recording? At the position camera do you use also boom mike? And a last question is the dpa 4060 omni capable of giving a similar sound of a boom mike? You're right I'm a newbie compare to you guys. So everytime I learn something new I get the feeling that I…
Last reply by Marco Lopez, -
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Has anyone successfully recorded files @ 30ndfTC & 48.048k sample frequency on Boom Recorder with MOTU ultralite interface & SD 744t back-up also being clock? I've read the previous threads and still unsure. Thanks, Ruth
Last reply by Ruth, -
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Greetings all, Having just wrapped up a show staring "The Generator" on a majority of exteriors (Lots of ADR will be needed), I'm curious. Would you rather work on a big budget Action movie where you know say 90%+ of your production dialog will be replaced (ADR) or a smaller serious Drama where 90%+ of your production dialog recording would be used? Thx ML
Last reply by old school, -
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Anybody have one they love that they would like to share? I know nothing about html, and not too happy with the layout that comes standard. Thanks MC
Last reply by Michael P Clark, -
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Hi, On 23.97 shoots i want to be the master TC but only have a PD4 and Boom recorder. Can somebody confirm my plan.... -PD4 set to generate 29.97 TOD (48kHz) -TC out of the PD4 into the jam input of a Denecke SB3 set to 23.97 (48kHz) -Timecode out of the SB3 goes to Boom recorder as well as jams everything else on set (slates and other lockit boxes). I'm thinking that this way the only cross-jamming involved will be on the DAT which will always sync at the 00 frame (it's a backup and they never use it anyway). Boom recorder , Slates, and other sync boxes will all have my SB3 as the master TC already at 23.97. PS: I'm not recording long takes...10 min…
Last reply by bernardo, -
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Anyone here live or work in Buffalo, NY? Can you tell me which broadcast TV channels are currently occupied (dig & analog)? I keep finding that the FCC database does not represent the actual channel use in many US areas. Thanks, ben lowry
Last reply by ben lowry, -
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I am curious what everyone's take is on a Sound Mixer talking to a cast member directly. For example, if an actor is somewhat mumbling their lines, or performing an action that makes noise (papers on a desk, whatever)... should a sound mixer go through and inform the actors directly, or inform the director or AD? What is the correct protocol?
Last reply by jason porter, -
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Working on a show now with a camera crew that is distinctly arrogant and has shown a contempt toward both sound and scripty. Extremely sloppy slating, not informing everyone in the chain when a lens change occurs then when you ask the blow you off. In particular, the 1'st AC on the shoot stands out. The DP and I have arrived at a good place, but the rest of his 1'st crew have been difficult. Issue has been brought up with 1'st ad and Line producer, gets better for a scene or two then they revert to status quo. Curious what your worst experiences have been? Oh yea, to boot, the director comes from background where all his films are mostly looped so he has no problems with…
Last reply by soundtrane, -
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I bought a Solice mixer a few weeks ago and started in the field with it right away. It was a big change from my Cooper 106 I had been using for the last several years. I had to get used to the setup, etc. Quickly I found several areas I wanted to be modified. Nothing wrong with the mixer, just personal preferences really. I contacted Ron. He gave me his valuable time, listened to what I wanted. He then personally made all the mods I wanted quickly and with a smile. It's been a pleasure doing business with him and I wanted to thank him by putting some kind words up here. He's designed a real nice mixer and his customer service is awesome. Thanks Ron! Charlie …
Last reply by studiomprd, -
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from http://www.macrumors.com/ As The New York Times notes, Verizon's increasingly aggressive commercials focusing on the iPhone make it hard to believe that the company will begin offering the iPhone any time in the near future, despite the fact that Apple and Verizon have reportedly been in discussions about bringing the iPhone to Verizon when AT&T's exclusivity arrangement apparently expires next year. This nasty name-calling does not bode well for the prospects of the iPhone coming to Verizon in 2010, talks for which were said to have begun earlier this year. Steve Jobs, Apple's chief, has a notoriously long memory, and Ivan Seidenberg, chief executive of V…
Last reply by Jeff Wexler, -
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Hello all, Has anyone had experience protecting for the full frame when shooting 35mm? I thought I only needed to stay out of the 1.85:1 frame, but lately I've been told I'm "in" as soon as I can be seen on a monitor. Does the telecine lab record the full frame for dailies and leave out the 1.85:1 framline? Is this a discussion any of you have had with the director or DP? Thanks for sharing. Jay
Last reply by ChrisC, -
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Hi Can anyone tell me the frequency of the old Comtek PR-72 receiver with an M crystal ? Thanks, David Glasser
Last reply by Philip Perkins, -
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Hi, Does anybody know if there are hairy covers for countryman b6? I've checked on the internet the Reinhardt Micro-Lap( http://www.reinhardt.tv/LAP.php ) but don't know really if they can be used with the country b6. Thank you, Marco
Last reply by studiomprd, -
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MANY years ago I worked with a "hidden camera" spot director whose code word for "kill the set audio feed to the clients" was "coldski". Many commercial directors nowadays do not want the village listening when they talk to the talent, who is probably wired, and insist that the audio only be open to the clients when we are actually rehearsing or rolling. This makes for some added difficulties for the sound dept. when trying to troubleshoot between takes in a rapid-fire shooting style, as well as making sure that wardrobe or etc hasn't changed something that makes the talent mic noisy etc right before they want to roll. After getting burned trying to keep the channels o…
Last reply by DBurnette, -
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The GAO is reporting to Congress possible fixes for the large "tax gap". The sole proprietor is in their sites: http://cryptome.org/gao-09-815.pdf
Last reply by Daniel McIntosh, -
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* The Wall Street Journal * THE MIDDLE SEAT * OCTOBER 15, 2009 Cracking Down On How Airlines Treat Travelers DOT Presses Carriers to Comply With Rules On Lost, Delayed Luggage * By SCOTT MCCARTNEY Columnist's name * Article * Comments (32) more in Travel Main » * Email * Printer Friendly * Share: facebook ↓ More o StumbleUpon o Digg o Twitter o Yahoo! Buzz o Fark o Reddit o LinkedIn o del.icio.us o MySpace * Save This ↓ More * smaller Text larger Many airlines may be viola…
Last reply by wolfvid, -
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Hey Folks, I recently completed a shoot for the New York Film Academy. They had a lot of bells and whistles in the camera department, but when they handed me the sound package I was pretty disappointed. The kit had some G2 wireless, a really old 2 channel mixer, a Fostex FR LE, and an Audio Technica mic (no windshield, no XLRs), and a boompole. Luckily I brought my own package. The students said that sound isn't taught much at their school. I really couldn't believe that a school where students spend almost $30,000 a year wouldn't have a better package. A few terrific sound packages could be had for the price of just one RED camera (of which the school had many). Fr…
Last reply by pedersensound, -
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I just saw "An Education," an excellent new film featuring Peter Sarsgaard and Alfred Molina with supporting roles filled by Emma Thompson and Olivia Williams. Carey Mulligan is outstanding as the young lady at the center of the story. The whole film is terrific and deservedly getting good critical notices. I thought the sound was also excellent. I'm inclined to suspect that a lot of the film was looped. Much of the audio is so lovely and resonant that my ear detects a large diaphragm mike rather than the small diaphragm mikes we use on location. But skillfully mixed sound is sometimes deceiving and a well deployed Schoeps/Neumann/Sennheiser can also have lovely to…
Last reply by Richard Lightstone, CAS, -
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http://ihopetheyservebeerinhell.com/archives/post_2.html keep watching after Marks segment then I show up freakin hot as balls here in the Shreve.
Last reply by Matt McGowin, -
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Hi there, I have a scene with dialogue where the actor will be on a bike. We will do the dialogue part on a trailer. Fortunately there will be no genni but I`m concerned about wind on mic and the engine of the trailer-car. How is booming dialogue at 30km/h (around 20mph)? Is it possible or will it suffer from heavy wind noise? I will have lavs too but the actor wears a T-shirt only so proper wind protection will not be possible due to the tight wardrobe. He will be talking to his cellphone but even if I put a mic into the phone how will I run the cable? And the tx is small but not small enough to hide it inside a prop phone or something like that. And he doesn`t…
Last reply by Izen Ears,