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http://www.buzzfeed.com/sbkasulke/29-lessons-film-school-actually-teaches-you
Last reply by atheisticmystic, -
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I was hoping that perhaps more mixers, especially the more influential ones, can start to call their Utility Sound Person the "Second Boom Operator", when appropriate. It's something I've begun to notice popping up more and more in the credits, and Willie Burton thanked his Boom Operator and Second Boom Operator in his back room interview at the Oscars. I plan to ask that my third get that credit on future projects. The reason for this is two-fold... Typically, especially on television, with there rarely being one camera at a time and with many shows having large ensemble casts, the utility person is required to be a skilled boom operator. And also, with larger c…
Last reply by Alien, -
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- 3 replies
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Oh man. #3 is just so, so true. Here's a link to the article: http://eepurl.com/beOu-b
Last reply by taylormadeaudio, -
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http://www.deadline.com/2013/02/three-killed-in-helicopter-crash-at-filming-location-for-tv-reality-show/ My good friend Darren Rydstrom died making a TV show on Saturday. A really good guy and I can't even come close to relating the feelings. RIP Darren.
Last reply by Rasmus Wedin, -
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Hello all, I'm in discussions with a producer about an indie shoot in India next year and as all my work to date has been confined to North America I thought I would request a little first-hand knowledge from those of you who have done this sort of thing before. I have many questions - some of which I'm sure to forget now and will come back to ask once they arrive back in my brain. Any tips at all are immensely appreciated. 1. Per Diem in India. What would be a good going rate to ask for such a shoot? I usually stick to $75/day for most cities and $25-$50 more for places like New York. 2. Security. I am not yet a world traveller but am certainly intrigued by spending …
Last reply by Valentine, -
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whats out there? Need to maximize ouput flexibility of my cart, needs to be small, dc powered etc - will be used to split line level comms feeds. Thanks! Chris.
Last reply by Peter Mega, -
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Hello - I am going to be back in LA for the summer - will need a car. I have to buy a non-owner insurance policy to avoid $12 additional per day for California liability coverage and to be legal on the road. It'll also cover be in borrowed cars, so that's good too. My credit card gives me collision/comp on rentals up to 31 days, so need to rent 4 weeks at a time. Just wondering if anyone has a bright ideas or hidden gems. Currently looking at 30 rentals at various outlets at about $600, which is quite a lot. The UK has an air bnb type thing where you can borrow someone's car who is away or isn't using their car. Does such a thing exist in LA? Thanks, …
Last reply by RPSharman, -
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I am very proud to share some clips from the film 30 Days of Night: Dark Days. The film has been nominated for a CAS award and also a Golden Reel award for original DVD programming. Please visit http://www.anarchypost.net/Welcome.html and click on the link at the bottom of the page. This link will provide a list of sound crew personnel and a page to view three clips from the film. Thanks for your time. Good luck to all the nominees.
Last reply by Eric L, -
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I didn't see any contact info for RVDMIXR. I watched 310 to Ymua yesterday and was impressed with the sound, credited to RVDMIXR and co. Nice job. I have worked on a couple of projects involving cowboy hats and have learned how they can be problematic for close micing with the boom. Rance Howard, a seasoned pro, often hung his head low for his character's performance, however as soon as it was time to deliver his line, his head angled up perfectly for the mic to pick up the signal past the front brim. RVD, if you happen to be reading, would you mind sharing some of your experience with capturing the sound? What percentage would you say went to ADR? How much was actual…
Last reply by Marc Wielage, -
- 5 followers
- 44 replies
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I was having a discussion with (what I suspect is) a young filmmaker on a different forum. and he's asking for a way to crank the post sound levels up more than 30dB, 30dB being the current limitation of Fairlight. I asked, "why would you need to adjust post sound levels up +30dB? That sounds incredibly extreme!" I come from old-school Pro Tools where we were limited to I think either 10dB or 12dB without adding an extra Trim plug-in for additional range. Even 10dB for normal dialogue is exceptionally rare (to me). I did some quick math and came up to the conclusion that 30dB works out to 1000 times the intensity of a 0dB signal, (subjectively) 8 times as loud…
Last reply by shaheedmalik, -
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Having agreed on the money etc., tabled negotiating prep days. Tech scout (there will be five days) and a day to confab with production designer / prop master / costume designer since period piece with possibility of period mics. I want to be well armed when the discussion resumes. The scout is sound's introduction to all the people able to make the difference between 'OK' and 'great' sound. If sound’s not on the scout the message is clear: our work doesn’t matter. Sound matters. Sound is subtle (unconscious) but here's a fact: 100% close ‘artificial’ sound breaks suspension of belief. Significant percentages of stories are told with words…
Last reply by Matt Bryant, -
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This is pretty cool... http://www.xperiastudio.com/360-video/ And this is how they did it... http://www.engadget.com/2011/11/04/sony-ericsson-uses-six-xperia-neos-to-capture-a-360-degree-bike/
Last reply by JackHenry, -
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So, has 3d printing come to the point yet where we can design and create entire shock mounted and wind protection rigs with various multi mic configurations? I saw a thread a while back that had a person custom 3D printing various mic clips, and it seems like the next step would be to modify the designs that Rycote and Cinela put out to adapt to some more esoteric or compact designs that incorporate both wind protection AND shockmounting. I'm thinking of things like ORTF mounts for longer mics that have shock mounting built in and enough room for cables to attach internally quad rigs rigs with attachment ports for TWO mic stands that can support heavier mics collaps…
Last reply by IBH, -
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Yup, the topic says it all. I'm in a scenario where I'll be using 4 wireless and a boom for production sound, all recording into a 744T. How to approach? I'm already considering joining 2 wireless into a channel, where 2 of these talents are talking with a 3rd talent in-between the conversations. The shots are all crane/masters/and X-wide shots, not a whole lot of them but enough for me to require going wireless. Another option is to just use 2-3 wireless systems and compensate the 4th character by booming. Setup #1 SD302 + SD744T Setup #2 SD442 SD744T Setup #3 SD302 SD744T + 702T Setup #4 SD442 SD744T + 702T Confused? I am! Alan
Last reply by Alan, -
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is this an anniversary of JWsound? 4 years huh? wow! Jeff thanks for the forum!!!!
Last reply by Bondelev, -
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I just had a nice chat with a mixer friend. He was asked to reduce his crew on his last project (he refused). We talked about the fact that he really needed a 4th. Production has no issue adding cameras and camera people. They also seem to have no problem adding grips or electricians or costumers. Why do we allow ourselves to be different? Yes, many of us don't have cables for the "cable" guy, but that's not the job anymore. We have bigger casts, who we are asked to radio mic, or who we need to radio mic because of the three cameras. Then with the three HD cameras we have lockits, three slates, sound to cameras and/or DIT. We have half a dozen or more producers…
Last reply by Morantzsound, -
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Several years ago, I worked on a job where we were in a hurry to set up for an interview. In our haste, the cameraman (whom I was "married" to for several years at that point) said "hand me your cables and I'll connect them to the camera". I trusted him so he plugged them in, I flipped on 1KHz tone on my 442, listened to the return (tone), sounded good, he said levels looked good at the camera. We began the interview and I immediately noticed what I was hearing in the return was camera mic and not my feed, so I stopped the interview and flipped the switches on the camera from "front" to "rear" inputs. Problem solved. I realized that when I checked the return during s…
Last reply by Jay Rose, -
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So I thought it might be 4G cell phone interference, but I've eliminated that now. It sounds identical to antennae switching but RF is full strength and the antenna logo is stable. Thoughts?
Last reply by Marc Wielage, -
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Tried to find the thread ... Thanks. Mike
Last reply by studiomprd, -
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Hi everyone, first post I have a 416T with a noise problem - I connect via a 48V adapter barrel (works fine with other 416Ts I have), enable 48V and about 5 sec later get a massive amount of noise with a crackling voice buried underneath. As I said the cables/adapter work 100% with other 416Ts I have. I've opened the mic up and can't see any loose or shorting wires...however touching around with a screwdriver while 48V is engaged does seem to make the noise disappear, leaving only the voice sometimes, in partic touching the wires that go from the bottom of the main wiring assembly down to the connectors. I've tried to remove the C-ring so I can open up the XLR part but …
Last reply by charibancho, -
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The film that Jeff and Glen both worked on is scheduled for a screening tonight (4/2/13) at a somewhat notable Pennsylvania Avenue address in D.C.: http://www.deadline.com/2013/04/jackie-robinson-biopic-42-screening-at-white-house-tonight-harrison-ford-thomas-tull-in-attendance/ Congratulations to all involved!
Last reply by Jeff Wexler, -
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42, the movie that Jeff and Glenn worked on will be a premiere screening at the Dallas Film Festival on 4-11! Having top level, STAR pass privileges, I will be there to enjoy the story and may just listen to the entire film with my eyes closed!!!! cleve
Last reply by old school, -
433mhz chaos
by Math- 10 replies
- 1.6k views
Thought i'd share a fun day; i use the Ambient Timecode Wireless link for reality work - i find it's a neat solution to keeping sync between the camera and my 744 when shooting long days on reality stuff with the camera on rec run. I recently broke one of the antennae on the receiver, so called my preferred distributor here in the uk for a replacement and he said he had longer ones that overcame the problems caused by the camera body shielding the signal - about 6" long as opposed to 2" for the previous. So i got two - one for tx and one for rx. I got to location this morning, turned them on for the first time with the longer antennae, and jammed with the tim…
Last reply by Michael McQueen, -
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Hi all, Just got a loan of some dx2040's for a job starting on saturday, and when i plug em in to my 442 the level is shockin i have to turn up my gain all the way and open the fader all the way just to get a good level and this of course brings up a shed load of hiss, i have turned up the output of the R/X all the way and have the T/X set so it is not peaking. Am i missing some thing ? I have tried it in my SQN S4 mixer and it seems to be grand the input from the R/X needs to have the -12 pad put on but no major issues like on the 442. I have been using Lectro's Block 21's recently and had no level issues like the 2040's, infact the lectro's rock. Is there…
Last reply by alanscully, -
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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,
