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it´s a little bit dated but I came across that interview with Billy: http://designingsound.org/2007/11/exclusive-interview-with-william-sarokin-production-sound-mixer-on-american-gangster/
Last reply by RadoStefanov, -
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http://sennheiser-urbanite.com/en-US/ I recommend not consumming food or drink during
Last reply by daniel, -
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Does anybody have a contact name/number email for someone at the Academy? I'm writing a history piece on technical achievements and the Oscars for sound technology are important! I wrote to the website....nothin'. I'm going to need a member who can point me the right way. Thanks! John
Last reply by Marc Wielage, -
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The recent thread on boom operators got me thinking, as I've always had a special affinity to them as the unsung heros on the sets. Maybe because I was a way better boom operator myself than I ever was as a mixer. I loved the challenge it took to get an open mic overhead through a matrix of lights and admired the best ones I worked with. Like Tim Salmon, Beau Baker and Don Coufal. So I'd love to see some pics posted here of your boom operators in action. ps. Jeff, I would also suggest that your great site have a forum section maybe called Boom Operator's Chat. John Coffey
Last reply by old school, -
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Hey everyone! I'm tired of Turbo Tax and I am looking for a CPA or tax professional that specializes in working with people in our industry. If you don't want to keep them a secret, do share! LA area is preferred! Thanks, Chase
Last reply by studiomprd, -
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I'm interested on everyone's take on this. I'm currently working on a doco with a pretty green director outside the US. Last night we did a long take during a dinner with the key person and some friends. We shot for about 2h20m without stopping. It's the longest I've ever had to boom without a break. To be fair the camera man suffered more as it was all handheld on f55. I didn't really notice anything at the time but today I really feel it. I've done plenty of reality and doco work before and most directors will give the crew a rest after 30-45min even if it's just a few minutes. Of course I didn't complain as I would have felt bad as the camera man was not saying anythi…
Last reply by Carlos Corral, -
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First working sound cart I talked myself into visiting was Dennis Maitland's as he mixed "In Search of Bobby Fisher" in Washington Square Park. He told me very first thing, "Never fuck anybody you work with." Took him at his word. As for those with whom I eventually fell in love, love consciously ended the working relationship. Well, Bill Daly did boom for me one day after we moved in together. Other than that stellar day of learning, no. Sacrifices? Yes. The next thing Dennis showed me--EXT Times Square--was to keep the boom up until just after, "Action" so what was accomplished with the wires was heard in dailies. Later learned he was considered amon…
Last reply by studiomprd, -
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This monkey... Made more money than I did last year!! Ouch!! http://www.hollywoodreporter.com/news/hollywood-salaries-revealed-movie-stars-737321
Last reply by Mirror, -
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http://gizmodo.com/scientists-make-the-worlds-smallest-microphone-from-a-1641728652
Last reply by Rob Lewis, -
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Good-day all. I'm new to this group - inspired to join by the apparent calibre, quality, kindness and mutual respect of its members and their feedback. To freely proffer guidance from decades of hard-earned experience is no small thing - indeed, it is a very big thing, and I salute you all! I am to be recording opera singers. Any guidance or comments on the following would be most welcome. Is it best to record a singer in live performance with an orchestra, or alone in a good recording studio to pre-recorded orchestral backing (assuming quality recording gear is available for either case)? I can see many pro’s and con’s both ways, but I am most interested…
Last reply by ninjafreddan, -
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I may have the opportunity to sell my dplay.com domain name for a reasonable amount, to a European broadcaster for their VOD service. We'd run parallel for a very short while, but then I'd have to move elsewhere. I started dplay.com years ago as my studio's site, but over the years it's morphed into a tutorial and info resource (the studio's still there, but the site isn't where I get my business). My question: In your opinion, should I relocate to: www.dplay.info -- keeping the name, sort of, though people would still have to Google to find it or www.jayrose.com -- which might be easier for people who are looking for my tutorial stuff I don't…
Last reply by David Silberberg, -
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This had to be a sound bag. http://m.hollywoodreporter.com/entry/view/id/659010?utm_source=twitter
Last reply by atheisticmystic, -
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Anyone have experiences working with Pilgrim Studios? Good or bad? How do they treat crew, especialy when traveling off the beaten path?
Last reply by MatthewFreedAudio, -
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An direct experience anyone, of which Lectro blocks to use/avoid please? mike
Last reply by mikewest, -
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After reading about the stolen Sound van in Georgia I figured I would share some thoughts... If you are going to drive a sound vehicle, leave gear in it, store gear in it, leave it in crew parking lots, driveways, city streets etc., you better think this through. All you can do is all you can do. * Start with a safe vehicle... I personally prefer a Cargo van with no windows but the rear and drivers and passenger. * Use a security partition *Get some SLIK LOCKS * Limit the number of windows...and have them tinted if possible. Use security screens on those windows if possible as well * Get a good alarm * Cover your gear if in sight with dark cloth or bla…
Last reply by Don Zenz, -
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I am trying to log all of my gear using a barcode system, kind of like a rental house. That way, when I come back from a job, I can just scan the equipment I used and it SHOULD come up as the scanned item and other details. My question is this, for anyone who has done this, what program do you use? I have attempted to use Excel and Access. I have software that catalouges my DVD/Bluray collection, I want my database to work in a similar manner. Cheers Brian
Last reply by vale, -
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I was watching a YouTube video of Louden Wainwright and Richard Thompson had a little box connected to the upper end of the neck of the guitar. I had no idea what it was until I saw it changing and reading out what appears to be the notes or chords: "E", "Am", "C", etc. Does anyone know what this box actually is?
Last reply by OmahaAudio, -
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It's a long and complicated story (not really a sad one), but I am now the owner of both a 633 and a MAXX. I do mostly documentary work and am trying to decide which is my main recorder and which is my backup. I am a long time Sound Devices user so there is/was a much steeper learning curve for the MAXX but there are many things that I like about it (size, weight, design, to name a few). My main problem with the MAXX is that I am uncomfortable recording to only a CF card. For years, I used my 744T, I left the CF card with production if I had to, and went home and downloaded from the hard drive so that I had my own record of the day's sound. I'd like to hear if this is…
Last reply by John Blankenship, -
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Topic should be An Ideal Lav (sticky keys on my laptop) "...for extremely difficult pickup conditions... miniature velocity microphone similar in principle of operation to the deluxe Type 44-B microphone..." Just think: no capsule noise, no FET preamp noise, no worrying about power from your transmitter... double-click to make this large enough to read ... and dig the plug supplied with the mic! -- RCA 1939 broadcast catalog
Last reply by studiomprd, -
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Last reply by VASI, -
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Wow, inspiring!...while we should focus on finding ways to diminish the use of plastic around the world (the root of this problem) this is definitely something that needs to get done. Technology could be a great tool if used appropriately.
Last reply by enginufuk, -
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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, -
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As a dialog editor I really appreciate all the efforts done by every one in production in order to get the best sound possible on location. They really do their best everyday to provide us with decent material to work with in post. However, very frequently the results are not satisfactory, not as a fault of the sound department directly, but because some of the other departments are not conscious of the huge impact they make. Just as a boom op, whose work includes the effort to stay out of frame, everyone else shoud also do their best to make a positive impact in the recorded sound, be it keeping quiet on set, choosing better locations, or thinking on mic placement when …
Last reply by studiomprd, -
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Unfortunately, When you combine idiots that have NO business being in the film biz, and inexperienced kids that think this is easy money.. This happens.. http://www.wafb.com/video?clipId=10600852&autostart=true and.. its going to get worse as more people pile in, thinking this is a 'live my dream' plan. -Richard
Last reply by echo, -
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- 10 replies
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I just finished a long shoot in Alaska where we were working in some serious rain for prolonged periods. While my mixer, transmitters, and boom mic were all stayed dry with the solutions I had in place, I kept having one point of failure: the boom kept shorting out where the xlr from the bag plugged into the bottom of the pole. I tried several ways to water proof this connection (plastic bag over the connector wrapped in gaff, non-lubricated condoms, etc.) all eventually failed and it left me wanting to find a permanent solution. I'm used to the functionality of an internally coiled boom pole and don't want to lose this functionality. My solution is to bypass any con…
Last reply by Boomboom,
