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old school

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About old school

  • Rank
    Hero Member
  • Birthday 04/08/1952

Profile Information

  • Location
    So Cal
  • Interests
    Recording Music, Disc Golf, Body Surfing, Gardening, People
  • Interested in Sound for Picture
    Yes
  • About
    4th generation Californian.. Proud father of 2 sons, Married for 35 years and counting. USC Film School grad. 33 years in local 695

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  1. Large blimp vs smaller blimp

    FWIW, we call it "the dog"..... CrewC
  2. Congrats to all the nominee's and their crews and of course Roger with the trophy. Well done. CrewC
  3. Production Mix Structure

    Number one thing, above all else discussed here to date, be sure and hit the record button. A unrecorded mix and a recorded mix sound exactly alike, (hopefully good) until you try and play the unrecorded one back.... Double check each roll that you are indeed recording. Nothing worse than having to tell all you didn't get the take... If it does happen, cop to it right away and go again. Better to be a dumb shit now than not sleep all night worrying about being a "fuck up" tomorrow. CrewC
  4. Production Mix Structure

    David is absolutely correct. A good soundlng shot has way more value than a consistent shitty sounding shot in a compromised sounding scene. Also I care much less about a master shot than I do the coverage. Unless it's a all in one shot, a master will only be used to set up the stage/setting and the coverage sound can and should be used in the wide shot. Every mixer I know tries to be 100% all the time, but the best are realistic about what they can do in every scene thrown their way and give the best they can. Also concerning ISO tracks, I try to pfl them before we roll to hear their status. As The Godfather of multitrack Jim Webb would tell you, ISO one track and you won't hear the other (how many) you have armed in your mix. Unless there are issues, concentrate on the mix and scene, not the gear. CrewC
  5. Production Mix Structure

    Tom, there have been other threads on this topic though I can't recall a signpost for James to look for. James, I'd treat the mix like it were the only track. I'd use the elements (radios n 2nd boom) with the main boom to make it sound like it looks. The hardest part of mixing multiple mics is hiding the fader moves and cross fades. You don't want to wow the bg sound or give away the process... tip, (Bring mic 2 up to level before you drop out mic 1). It takes a lot of practice to do it well, but rest assured you have all the elements in ISO as back up, so go for it. The other big thing is shot to shot consistency so the sound is cuttable and doesn't create an aural jump cut. That may not always be controllable, but is a goal. Best of luck. Also important, have fun w your crew doing the job. CrewC
  6. Making Waves - KickStarter documentary on cinematic sound

    👊👊👍👍👏👏
  7. The story about Willie Nelsons Guitar named Trigger

    That's cool. Love this kind of history. CrewC
  8. Indy film aftermath- my sound experience

    Cool. Glad it worked out for you and your team. CrewC
  9. Running the Set

    The way I came up, and I believe it to be the correct way, is the boom op is the quarterback, the mixer and the 3rd/cable are the team players (sorry for the American football analogy). Of course my most valuable mentors were Jeff Wexler and Don Coufal and this is the way they/we worked. When I was a boom op, I made the decisions as to how we were going to do any given shot/scene and the team and I executed that plan. For me today as a mixer, I do it the same way. I wouldn't hire a boom op who couldn't run the set and didn't know film making and all it involves. While I did work with a few Emperor Mixers, it was one and done as everything suffered IMO/ Why? Because the front row is just that, the place where films get made. Not to diminish the mixing gig, a system and it's operation is the mechanical/technical heart of the operation, but the people make it work, not the gear. The unsung MVP is often the 3rd who will swing a boom, do playback, record sfx, fill in for the mixer who's 10/200, many times all in the same day. Just the way I like it. TEAM. CrewC
  10. Safdie Brothers Talk About Audio on 'Good Time'

    Say what? Not sure wtf they said Jay Rose. I hear their film is good, but... wow. Maybe they were buzzed as they were interviewed. I've said some stupid shit when I was loaded. CrewC
  11. MixPre-6 – worth it for this beginner?

    Sounds like a smart plan Daniel. The gear only gets better as time goes bye. All gear is important, but experience (booming or mixing) is what everyone needs more of. In a couple of months I'll be 40 years deep in local 695 and I learn new stuff all the time. Keep dreaming and thinking about the gear you want, but practice and work your people skills everyday. They are equal to gear in doing any job. CrewC
  12. MixPre-6 – worth it for this beginner?

    I agree w Rick. That said, many reasons why it may or why it might not be right for you. Personally I'd save up for a 633 as a primary recorder. CrewC
  13. On My Radio

    Been to this party when I was much younger. I like the Dawes, but this is their best song to date IMO. CrewC Big shout out to mono.... So many great posts. Thanks. CrewC Big shout out to mono.... So many great posts. Thanks. CrewC
  14. Vid Chat: SENATOR

    Working all week but I look forward to watching this Dave. Thanks. CrewC
  15. RIP Glen Campbell

    As a teen i wasn't a fan but his music grew on me and I became an admirer... RIP Glen. CrewC
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