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I just wanted to see what opinions people had on best practice regarding taping or attaching lav mics to actors' chests. Obviously it wouldn't be the first choice but if there is no better option like if an actor is wearing only a thin t-shirt with a high neckline is it an acceptable practice to attach the mic to their chest directly on the skin? What about if they have a hairy chest? And what about high profile actors/actresses? I've heard of soundo's saying "absolutely not" especially with hairy guys but then I've a lot of success miking directly on the skin. Sent from my iPhone using Tapatalk
Last reply by resoNate3973, -
- 2 followers
- 43 replies
- 8.9k views
Hello everyone this is my first post on JWsound. I am a NYC based sound mixer and been at it for about two years. I roll with two Lectro's w/ Tram tr50's and i always find myself fighting clothing noise, sometimes having to readjust them between every take. I've recently tryed sewing in pouches which has worked out ok, but still end up with a little crackle here and there. On the job i'm on now we also have two sony emc mics which clean up much much easier. So basically if anyone has any tips or can lead me to any resources, your help would be greatly appreciated. Best, Brett
Last reply by Eric Toline, -
- 3 followers
- 51 replies
- 8.9k views
Heard a similar question asked in another forum, but couldn't come up with any answers no matter how hard I Googled. Wanted to ask the experts: What was the first film made with digitally recorded sound? And, as a bonus, which recorder may have been used? (*edited for autocorrect spelling error)
Last reply by codyman, -
- 1 follower
- 58 replies
- 8.9k views
long take - Damasonico boom operator Eric
Last reply by Boomboom, -
- 1 follower
- 25 replies
- 8.9k views
When we must use lavaliers-only to capture the dialogue of a man with a very hairy chest... We have all had to deal with hairy chests. I thought I'd start up a thread to discuss techniques. Most of my work is not on projects with a wardrobe department at all. From what I've read here for scripted narrative stuff with a wardrobe dept. there is the option to ask wardrobe to put an undershirt on the actor. Use Country B6 out in the open away from undershirt. Try to hide lav in hair with cable down the back of neck. Even with an undershirt would you recommend mounting lav to the outergarment only? What are the other options? What about the veterans w…
Last reply by ProSound, -
Invoice apps 1 2 3
by Zack- 4 followers
- 50 replies
- 8.9k views
I'm looking for a simple invoicing app that allows me to create while on the road with my iPhone or at home on the lap top, but also keeps either device in sync (cloud service). Closest thing I found so far is "invoice2go", but they don't seem too interested in ever finishing the OSX native side of the program to go with the mobile app. I'm curious to hear what others are using and recommend.
Last reply by johnchay, -
- 1 follower
- 65 replies
- 8.9k views
Id be interested in what peoples first investment was with their own hard earned cash in terms of sound gear and setting themselves up as a 'soundie'. Maybe state if it was for TV or for Film and if you can remember the cost. Maybe you hired or the gear was already there for you to use initially but at some stage you wanted your own "stuff', even if it was recording direct to a wax drum, I know there are some old timers out there...What was it? I did search the forums (probably not so well) so feel free to delete this thread if its has been discussed ad nauseum...
Last reply by Chris Sanchez, -
- 73 replies
- 8.8k views
I'm not 100% what I want to have on my business card. Of course my name, number, and email, but I am not too sure what I want to be labeled as. I plan to put a focus into Production sound, but don'e want to feel like i'm limiting myself to just that. Can anyone help a brotha' in this dilemma?
Last reply by Ze Frias, -
- 84 replies
- 8.8k views
deleting this post -- I think some people (at least one person) got the wrong impression and it's turned into something really ugly. I never meant any disrespect to anyone here on JWSound... I actually thought maybe I'd get a little support for sticking to my guns and not letting some producer low-ball me. Damned if you do, ... anyhow, peace ~tt
Last reply by taylormadeaudio, -
- 1 follower
- 35 replies
- 8.7k views
In situations where a lav is used along with a boom mic hung overhead (e.g. interviews), I invariably find the boom mic's sound to be cleaner and more natural. So when sending to camera or recording in the bag, I tend to put the boom mic on channel 1 ("A", "left") and the lav on channel 2. My thinking is that the post editor might just grab channel 1 and not even use channel 2 (doesn't that happen?). But in poling some of my sound buddies, many say the lav should be assigned to channel 1 and the boom mic on channel 2. What is "standard" (if there is such a thing) for assigning boom mic and lav channels?
Last reply by sergiofucchi, -
Sampling rates 1 2 3 4 5
by Tony Johnson- 3 followers
- 106 replies
- 8.7k views
- Higher sample rates yield better results during manipulation. Elastic audio, noise reduction and other tasks performed by post every day yield fewer artifacts when recorded at 192/24. Post will often upsample before manipulation. This above quote taken from Brian Liston post on "What specs really matter" an interesting read and makes the point re artifacts heard when sound recorded at 48/24 is manipulated in post which nowadays is a common occurrence. On the hobbit we recorded at 96/24 for dial that was going to be manipulated after, ie Smaug/ necromancer and a few others. Does anyone else record at 96khz or higher on a regular basis on films?? Will it become t…
Last reply by NewEndian, -
- 7 followers
- 78 replies
- 8.6k views
Anyone out there know anything about the Aaton closing? As a Cantar owner curious what these means for those of us invested in the product. I remember when Transvideo bought them in 2013 and thought things were going well. Then again it is such a niche market. Thoughts appreciated. David
Last reply by Patrick Tresch, -
- 1 follower
- 9 replies
- 8.6k views
I just purchased used sound devices 664 and was wondering if a SanDisk extreme pro 64 GB is worth the extra money compared the SanDisk extreme, the speed writing is almost the same, what else requirement (in addition the commercial) is really important to consider?
Last reply by afewmoreyears, -
- 14 replies
- 8.6k views
Hi everyone, I am the developer of an indie Racing Game and i would be very happy to collaborate with someone that have skills or experience in recording sounds for games. Me and a friend started working on that project about 2 years ago and we do that on our free time. That is why the progress are kind of slow but we try our best to work on it little by little. Here is the link to our project : http://www.redline-e.com/ You can download the game for PC and MAC at the moment. But later we plan to make an Android and iOS version as well. I am a big car enthusiast myself, and i know how important are sounds in a car simulation. I would do my best wit…
Last reply by redlineracing, -
ISO's vs. Mix Track 1 2 3
by Erob- 3 followers
- 56 replies
- 8.5k views
I was just curious how important you all think the mix track is? I work for a small production company and have recently been thrust into being the PSM, which I am happy with as it is what I have wanted to do for a long time. Traditionally we used G3's into a Zoom F8 and recorded a L/R mix with the ISO's, but as the person who also does post audio I would normally through out the L/R mix and just mix with all the ISO's we recorded (this was also before I was the PSM myself and was more of a Grip). We recently were able to make a big purchase and completely upgrade our sound gear to include Lectro SRc's, SSM's with COS 11D along with a MKH50 to go along with our 416. I was…
Last reply by afewmoreyears, -
- 27 replies
- 8.5k views
Zoom F4 - £600 Rode NTG 4 - 229 Rode Boom Pro - £166 Rycote Supershield - £215 XLR Cable - £15 Headphones Sennheiser HD25 - £145 2x sennheiser G3 - £315 (£630) 2x Sanken Cos-11 - £300 (£600) 2x RM-11s - £20 Sachtler SN607 Bag - £120 Sachtler harness - £99
Last reply by Lachlancampbell, -
- 1 follower
- 42 replies
- 8.5k views
So I have received my certificates from the Aerial Lift testing and the OSHA online courseI. I have called Local 52 about 3 maybe 4 times and had emailed them a dozen times about where can I get an application. They kept telling me the same thing, "we are not giving out applications yet, check the website periodically." I honestly feel like they just wanted the money. Am I the only one going through this? How could this be? How could a union Not give out applications right after certificates are received? This has be very stressed out. I need a job. I cannot continue to freelance for very little money or even for no money because let's face it musicians are the worst. The…
Last reply by johnpaul215, -
- 44 replies
- 8.4k views
I just saw "Gone Girl" tonight, and I really enjoyed it. It seems like the first half of the movie had a lot of ADR, even in shots where one would think good production sound would be attainable. Might anyone here have any insight about this particular project?
Last reply by studiomprd, -
- 2 followers
- 32 replies
- 8.4k views
I believe we will start to see this format, which has been available in DAWS for some time, becoming more common in sound-for-picture applications. The benefit of the extended representation of dynamic range outweighs the penalty of the added data required. Here is a write-up of what a 32-bit float file is. https://www.sounddevices.com/32-bit-float-files-explained/
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Last reply by Michael Wynne, -
- 2 followers
- 22 replies
- 8.4k views
Hi all, I am having some issues that I would like opinions on. We are on a stage and the set is a high school hallway. The hallways are the typical looking school or office halls, however while it looks like tile, its just acrylic paint on the MDF floor. Every shoe that walks on this surface squeaks and squishes, sounds like a bunch of wet sponges. Rubber soles (tennis shoes) are worse. We have tried the usual suspects...foot foam, tape, booties, etc. etc. but have had no luck. The only solution so far is BG taking shoes off (its a pain as there is no solid rehearsal to know if we are seeing the feet of BG deep in the shot ) or laying carpet down - even a bigger p…
Last reply by Jan McL, -
- 2 followers
- 36 replies
- 8.4k views
Not sure how many car guys/gals are on this site but I figured I'd post a build thread of my latest project (aside from all my other build threads..hehe). My plans are to rip out the stock suspension and replace the front end with a Mustang II type suspension and trailing arms in the back. Air bags will be installed all around and an LS1/4L60 will replace the straight 6. I'm thinking of chopping the top a few inches but not quite sure if I want to blow all my cash on that. Changed the original thread topic from: Mike's 53 Chevy Build to Mike's Car Building Thread then continued with post #24.
Last reply by Michael Miramontes, -
- 2 followers
- 80 replies
- 8.4k views
I was on set of a commercial shoot doing run and gun production sound mixing this past week and I hit quite a snarl. As soon as I arrived I was asked if I had slate. There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it. The producer, DP, and AC all looked at me in agreement and said, "sound always brings slate." I felt bad beside I couldn't refute on the spot, but now that I've researched I can't find anything on the subject. I would assume either the AC or whoever is renting gear would bring it. So does anyone here know who brings the slate? New p…
Last reply by enginufuk, -
Saw this taped up on the side of a bodega while walking back from the neighborhood playground with my kids today in Brooklyn, NY. Had to take a picture and share with the group here. Awesome, right? Avi Zev Weider
Last reply by studiomprd, -
- 1 follower
- 23 replies
- 8.3k views
Hi All, New to the site, fairly new to field audio work. I searched the site a bit, but couldn't find an answer to the following... When doing sit-down interviews indoors, do I need to have some windscreen on the mic (such as a BBG or at the very least a foam windscreen) to cut some of the inevitable ambient noise? I'm using a Sanken CS-3e on a pole, but have been using the mic naked (that's my technical term) meaning no foam windscreen or anything and seem to be picking up a bit of room hiss. I realize the advantages to using a BBG if I'm waving the pole around indoors, but is there any advantage to using one if the mic is stationary on a pole? T…
Last reply by studiomprd, -
- 1 follower
- 45 replies
- 8.3k views
Hey Guys! Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs: Equipment: CAMERAS: Canon 5Ds Sony FS700s SOUND: SD 664 CL6 8x Lectro UCR411a 8x Lectro UM400 8x COS11 2x Senny G3s (backup wireless) Senny MKH60 4+ Røde Mics BDS & NP1s There are 2 main setups that I was concerned about: SETUP 1: 4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car. QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I …
Last reply by fieldmixer,
