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I'd like to ask folks that work in the commercials world how often they get booked to record "wild sound" or at least thats what it is called in my market in South Africa. Of course this just means non sync effects for the most part. These jobs are a good source of income in the summer months here but increasingly I find that once I am on the actual job I am regarded generally as an inconvenience or hinderance to the production. AD's dont want to lock up or keep the sets quiet unless there is dialogue, so often clean recordings cant be had during the takes which leaves me trying to grab what I can before and after setups and during lunch or trying to foley things aw…
Last reply by Bondelev, -
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- 7 replies
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A great video from @JimKeaney in Boston, featuring a Dinkum Systems FlexiMount, Ursa Straps WireRig, Peter Engh Omnigoose, Sanken CUB-01, and Bubblebee Industries Lav Concealer:
Last reply by ChrisH, -
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- 18 replies
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I know the topic of equipment rentals has come up before but haven’t seen the following formula pop up and wanted to see what y'all think of it. I have looked at a wide range of rental house prices, and while they all seem to be in the same ballpark, there is still a wide range of pricing for equipment, especially when it comes to multiple day rental discounts. I wanted to come up with a fee structure where I didn’t have to put a specific dollar amount to individual items but rather a basic percentage fee as others have suggested doing. What I was struggling with (and didn’t see addressed) was how to discount the equipment for multiple day rentals that fell in li…
Last reply by backfocus, -
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“Steadicam Operator Walked Backwards 7 Miles a Day for 10 Days to Film the First 24-Hour Music Video” http://petapixel.com/2014/11/13/steadicam-operator-shares-took-film-worlds-first-24-hour-music-video/
Last reply by TomBoisseau, -
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Current affairs publication Vox put together a cool video about audio engineering for sports television, featuring A1’s Brian Robertson, Andrew Stoakley, Joe Carpenter, and Phil Adler:
Last reply by JonG, -
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- 507 views
I’ve just started to put together my first location sound kit, I’ve got th3 SD 552, three sets of Sennhieser EW100,s ME66 & K6 boom,, Sennhieser SKP100, Rode M3, Shure SM57 mic’s PS614 Bag, so far, what am I missing to complete my kit. Obv I’ve got all the cables etc , bu5 still feel I’m missing something, any help is great appreciated.
Last reply by Rick Reineke, -
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The director of the movie I'm mixing at the moment encouraged me to cut takes when I think they will be unusable due to background noise. The situation was an exterior dialogue, two actors in a city with constant traffic in the background, with the occasional airplane or distant church bell ringing (that's when he wanted me to call cut during the take). As I usually wait for the director to call cut and then tell them in case the take was unusable I was quite hesitant to cut during action. The only times I ever do that is when I have technical problems (RF interference, batteries running out etc.). So I am curious how other mixers handle this - do you cut at all during ac…
Last reply by Toy Robot, -
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Marc, I just read your Vol 22 Issue #1 column in the Coffey Files today...awesome read, thanks for the detailed info. I had a question though... I usually run an Ambient 202CT clock-it on my RED shoots... jam in the morning from the 702T and leave the box on the camera all day. I just use Free Run however, since I have no physical connection with the camera just the clock and a wireless reference track. I didn't see you actually use the term "free run" and was curious with your thoughts on that vs. rec run and TOD?
Last reply by Marc Wielage, -
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- 27 replies
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Howdy folks So, #metoo and all the other hashtags that follows in this tsunami of women not taking any more crap. In Sweden, 456 actors (women) originally wrote an article with testimonials of sexism and sexual assaults, harassments and other abuse, a few days ago. The number is now inflating and closing in on a thousand. Sweden is a very small country and that number basically says that nearly 100% of women in the business have been or witnessed sexual harassment or worse (forgive me if the terminology and wording is a bit off as English isn't my first language, please correct me if I'm wrong). I believe this problem really has to do with power, …
Last reply by Ohrenzeuge, -
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Remind you of anyone you know? 2:10 of pretentious silliness.
Last reply by LarryF, -
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You know, like actors getting million+ dollar policies for their faces, so if their faces got damaged and they were no longer able to work as an actor, they would have several tax-free million and wouldn't starve after the accident. Call me a worrier and you're right. Every few days or so I can't help but think about how screwed I'd be if anything serious happened to my hearing. Like an infection or a 140dB+ "permanently damaging" blast of sound. Like what almost happened to Mr. LeBlanc recently, but luckily he has told me his hearing is recovered. (Right Mark?) At this point in my life I would be completely fucked if my ears broke! If I knew where to get thi…
Last reply by wolfvid, -
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Not sure if this has gone around here yet, but I just got wind of it today and had to share
Last reply by Chris Woodcock, -
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- 33 replies
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That's all it took for me to piss off another producer!! Saturday I get a call in the morning. It went something like this.. Producer: Hi, I'm <INSERT NAME>, and I'm looking to hire a sound mixer for your upcoming film shoot of <INSERT MANE>. Me: Awesome, thanks for calling me. Producer: We're looking for someone who is passionate about what they do... Me: Check Producer: ..has the right equipment.. Me: Check Producer: ..And would love to add something too their reel! (Now imagine a record scratch in your head, kind of like a train that just derailed from it's tracks..) Me: You know.. Production Sound Mixers don't have…
Last reply by Peter Deutscher, -
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I just created this 10 commandments for new filmmakers.. I know we can go round and round with a lot of micro stuff, but I wanted to generalize as much as possible. But, perhaps we can take it to 15 or 20 commandments. what do you think? 1) Thou shall not mislead thyself. Creating Movies Cost money. What-ever book you read that told you about making no money movies is complete Bulls#!t for sale to idiots who want to believe this.. If you don't have the money, then go raise the F*$#ing money like your suppose to do!! Don't hit your crew for the cost of your film. Don't start calling crew people, and demanding they don't get paid because you are not.. Don't sta…
Last reply by jasony, -
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Hey there, gang. I recently threw together my own (highly subjective) 10 Commandments of Sound for Picture on my blog, syncsoundcinema.com. Since the point of the blog is to be a resource for indie filmmakers and audio newbies, I'd appreciate any comments and/or constructive criticism from some of the more experienced folks out there. The list is split into two parts. Part One: http://www.syncsoundcinema.com/2007/06/fifteen-drops-tabletten-ten.html Part Two: http://www.syncsoundcinema.com/2007/06/fifteen-drops-tabletten-ten_24.html You can either leave a comment on the blog entries themselves, or drop me a line at syncsound@gmail.com, if you're interested…
Last reply by syncsound, -
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Just got a call from a friend asking if I could help him record this event for a company. I don't have many details, he's trying to go scout the space, and get me more information. From a theory level, what is the best way of going about this? A.) Conventional idea would be to have all 10 subjects wired lapel style/above clothes. My Nomad-6 (with the upgrade) can do 10 tracks, so I'd be able to handle each of them on their own isolated track. The problem is they might need to be pulled away for other things, and so I'm not sure if wiring and unwiring will work with them. B.) Have practical table mics. Would you need 10 of them, or could you create something wi…
Last reply by mikewest, -
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http://www.videomaker.com/article/9426-sound-advice-10-tips-for-better-audio-gathering
Last reply by John Blankenship, -
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I'm not a guitar player, but I appreciate people who do. This guy blew me away with capsulizing the riffs from a hundred classic hits in about 12 minutes: Some are better than others, but the fact that he can achieve all those different sounds from 100 different songs, spread out over more than 40 years... that's pretty damned impressive.
Last reply by Philip Perkins, -
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- 10 replies
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http://gizmodo.com/5933294/11-hours-of-hell-the-time-i-was-a-steve-jobs-movie-extra
Last reply by studiomprd, -
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http://www.nationaljournal.com/magazine/the-two-filmmakers-who-spent-12-years-shooting-a-movie-about-congress-20131010 Seams crazy too me. -Richard
Last reply by Olle Sjostrom, -
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- 12 replies
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Is the next step of microphone design; the 130V? Is something to consider from ours side? Should the microphone manufacturers to look further? I am open this conversation to see if we will get a benefit from 130V microphones; practical and theoretical. As far I know, only the DPA Microphones has 130V microphone versions. If the 130V mics become a norm in near (or far) future; what that means for location recorders? Opinions from manufacturers are welcome! Best V
Last reply by davidm, -
18 hats in 'new content' is that a record?
Last reply by benr, -
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So, I am new folks to sound capture, processing, etc. I recently purchased a Deity connect 2.4 GHZ wireless transmitter / reciever kit to run sound thru to a Zoom F8n and out to my Dig SLR so sound track can be supplied to video in camera. How do you account for the 19ms delay that is created by the "wireless" method? Is it as simple as delaying the track in the computer? It use a Mac with Final Cut Pro.... Am I making any sense? Just want the lips to match the soundtrack... Jeff
Last reply by Bouke, -
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I've used Lectros for years but always had my lavs on separate blocks. Recently I was gifted a set that shares a block with one of my older sets. Tried searching on the forum and found multiple people confirm that this is possible, but haven't found a clear solution to my problem: I have 2x UCR401 receivers on the same block. When I try to use both my transmitters at the same time (1x Lma & 1x UM400a), only one will work. The Pilot symbol starts flashing on the one that cuts out. Set #1: UCR 401 (firmware v2.6, compat 400) LMa Set #2: UCR401 (firmware v2.8, compat NU HYB) UM400a Any ide…
Last reply by jayjay, -
- 1 follower
- 51 replies
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This is my first post on this forum , so I apologize if this subject has been discussed before. I’m a DP who often records sound on the camera, when shooting interviews. Traditionally I use both a lav and overhead mic on a fixed stand. The majority of my clients want the lav hidden. I use either a Sanken COS-11R, Tram or Rode Pin lavaliere. I own all the bits and pieces needed to hide a lav… and over the years, sound recordists have kindly shown me how to do it. When I’ve ask editors after post, which sound track was used… 95 percent tell me the overhead and the others use a blend. So, on my shoots the lav appears to be, just a rarely used safety track. …
Last reply by Bill Kerrigan,
