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old school

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Everything posted by old school

  1. Hey Noah, I would agree that better sound and getting the job do not correlate, but we always give them the best quality sound track we can, whether production wants it or not. But you are right, in commercials, we are largly hired because they like us better than the other guy/girl..... Hey Jeff, nice of you to remind me of that freakin dog Grunt, That mangy kur was in maybe 12 shots, and I boomed my brains out for 60 plus dayz and recieved no credit. (98% of that film was recorded with one mic, it's not as if I was kicked back at the sound cart cooking burgers with Jim Webb) but I'm not bitter, I just love to rant. I haven't seen that film since the cast n crew screening, so I really can't remember any great perspective shots in Flashdance, But Jim, Bill Macpherson, and I did record a good example on the "Milagro Beanfeild War". For those who saw it, when the Sheriff asks Joe why he is growing the beans, and Joe says 'look around' and they do as a clap of thunder rolls down the mountain with great perspective and counter point to the sceen. Could it have been done in post? Sure. Would it have been as good? No offense to our Post bros n sisters, but I doubt it. Well back to work, another sunday on the set, doing a Apple commercial. Regards, Old School
  2. Wow, after sitting around for weeks, this original post has generated alot of good replys that seem to be splitting into two main streams. Pespective sound with good examples, and screen credits (a sore subject for many of us I'm sure), both of which are worth alot more posts. My guess is that we would all agree that perspective sound would be our first choice in recording film sound when the elements are with us and we have some control of the set. I live in the comercial world and I still record 90 plus percent of the time with 1 schoeps, or senn 70 at times, but I know alot of sound bros n sisters who radio the majority of their scenes, and they work many many day..... So whats better? To my ears, the open mic, even with some extra background, it adds the perspective, or realness to the picture we are all trying to sell as "real". Now walkin-talkin long lens shots are a greaat time to use the radios for sure, probably the only way, but when it comes time to record two people at the table eating corn flakes radios sound like crap to my ears, but I hear it all the time on tv. I of course do not know whats outside the frame or other considerations of any given shot, but I suspect that other than the extra rental, some mixers feel more comfortable with the signal 2 noise ratio, and not the sound, and how it affects the picture, but this is only a guess. The good news is that we are working, and that there are no credits on comercials. Regards, Old School
  3. Wow! Great pictures... I can see you and Steve Ferry, a reel Holiwood classic character if there ever was one, but I would never of guessed that the guy watching is Colin Higgins, he looks so different, Wow. What was Colins job on Harold and Maude, Writter? Cool pics, thanks Old School
  4. Hey Jeff, great example of perspective from your body of work. I also think your live recording of "Tie a Yellow Ribbon" at the dance/ hook up scene is good example of another kind of perspective, the live perspective, in that it sells the time and place so much better than the best produced playback trx. ever could. You should explain how you did it some day..... Hey Brad, I agree that "Citizen Kane" has a great sound track, but I seem to remember that Mr Wells came from radio theater and was very good at the tricks of the trade, so I'm not so sure how much was production sound, and how much was post, but he sure did set an early standard. "The Conversation" is the mobious loop (sp) of film school editing/ rerecording studies. I would credit the always interesting Walter Murch, editor and rerecording mixer with that great film and it's sound track.... While I've done open mic/ boom op'ed shots in NYC/ Manhatten, I would say that it is by an large 'radio mic city'.... but hey, thats only my perspective. Regards, Old School
  5. Any old John Ford western, great sound with perspective to spare. A more rescent example might be found by imdb ing Jeff Wexler, or Don Coufal and watch some of their work, most done with 1 mic and a natural airy perspective. Also check out "A Touch of Evil" it's pretty wild sounding, but I'm not sure how they achieved the results, but what they got was great. Regards, Old School
  6. Hey Doug, welcome, Jeffs site is a treat, enjoy and post. Your background is quite well rounded and should serve you well in the craft of film sound. I also had no intention of becoming a mixer, I loved boom oping, it is the best seat in the house, and the key to a good track, but things change, so never say never cause someday you may find yourself in the chair, but until then enjoy, cause time goes fast. Regards, Old School
  7. First of all let me congradulate Soundhound on making it to retirement, well done. Second, I think you make several excelent points regarding the lack of chat about techniques, different mics in diffecult enviroments, etc..This is what this site is about if we want it to be. I also agree that if we give up the responsability of the sound mix and its quality, we do become less valuable and therefore more replaceable. Alot has changed since I started 30 yrs ago, but to me the greatest change has been the direction of the craft in all its departments. less respect, less knowlege of the other crafts needs, and a ok is good enough p.o.v.. I think your post relates to all departments, the big difference is that everyone thinks they know how to record sound, try telling a director or a cameraman how to do a scene, if you know what I mean. Nice post and enjoy your new job as a retired soundman, and keep posting. P.S. I apoligize to all for my terrible spelling, it's embarasing.... Regards Old School
  8. It didn't take Charlie Chan to figure out you were a player, your guitars are to nice to be just decorations. I wonder how many sound bros and sisters have music in there backgrounds? How many have home studios? My guess is at least half, who knows..... HAPPY 4 OF JULY O.S.
  9. Welcome Doug and Matt, Happy Quatro de Julio from Old Schoolio, I am sure you will get a kick out of Jeffs site.
  10. Hey Larry, very cool pics... I'm sure everyone will dig the extra photos. The canvas sides are a nice touch, most worthy of "borrowing" Also is the room you shot the pics in a home studio, or are you a musician? Just wondering, I used to hang out with musicians, I was a drummer. I also have a small project studio that my son Case and I record in. Pro tools 002, outboard gear, Mackie1604, shit load of mics/stands/cables, all tied up in knots, you get the picture. Thanks 4 the pics and a happy 3rd of July..... Old School
  11. Hey Larry, Ditto on your good lookin new cart. I like working in the vertical manner such as your cart is set up. If you get the time,I would like to see the side and back views as well. best of luck, Old School
  12. Hey Jan, greetings. From your description of the shoot in the BMW, it doesn't look good for the sound team. You might express your concerns to production and try recording a test with the windows up, then down so that they can hear the difference, who knows, they may change their minds, but I doubt it. Ask them about the looping budget, or just go for it and hope the actors talk above the roar of the road, because I know of no magic trick to pull off consistent useable production sound. Lavs might help assuming you don't have other issues like clothing noise, or wind noise, but I'd hate to count on them. Having stated the obvious, I have also recorded good tracks in open cars with one schoeps, but it was usually with loud actors and short scenes 1,2,or 3 shots, not extended scenes with alot of coverage. Best of luck, and let us know how it goes. Regards, Old School
  13. Welcome Marc, the more post people the better I say. My name is Crew Chamberlain, but for some reason I decided to post here as Old School, I guess cause it rhyme's with old fool. I work mostly in the commercial world and have had many conversations with the telecine folks, and for the most part they have been very helpfull. I look foreward to your insights and thoughts. Regards, Old School
  14. John, so sorry to hear the bad news. I'm not one to judge a book by it's cover, but those dudes look guilty as hell. It would be helpful if you could blow the pics up a bit, the guy in the yellow hat looks familiar, but I can't place him. Best of luck. Crew C
  15. Coleman has some good pictures in the Images of interest section of his sound cart, and to my eye the camera car rig is not a pop out from the main cart. That said, I like his rig, maybe I should build one someday. OLD School
  16. G$$ your lucky your producers know anything about sound, or think they do. The people I work with are by n large nice people, and do a good job producing, but they don't know dick about sound recording for film. I guess they figure thats my job. Besides, all the time they spend talking on their cell phones during the takes doesn't leave much time to learn the basics of production sound. Am I bitter, naw, I love living the dream. As Phillip Perkins points out, telecine prefers DVD files because they can do their job faster, book more jobs, etc., so not so sad to say, one of my hhb's sits next to my nagras in my home studio collecting dust. I do keep one in my Eurovan in case I need it for something, but I haven' seen it for 2 yrs... As for back up, the deva hd recording is there until I copy it to a lacie drive I have in my studio, the DVD-Ram goes to telecine and to editorial, and then to who knows where. As for the copy I keep, I have never used it, but I hate to toss anything out. I guess you could say old school is a pack rat. Regards, Old School
  17. Hey Tommy, good to see you posting @ Jeffs site, your a smart guy for a sound mixer, I look foreward to reading your thoughts. I have set the whole cart on the back of the camera car, but I normaly set up in the cab. I set the cooper on the half ass tray these rigs usually have, then find some space for the record deck, batteries, etc. It is always a cluster, but Marydixie n I have got it down so that we can stay up with the crew. Sometimes we go crazy and plant lavs in the visor or somewhere. We will radio the actors if they are exiting the car or something, but 99 times out of 100 we plant a schoeps between them and off we roll. The idea of a insert car rig is a good one and I have designed a few in my mind, but I guess I'm lazy cause I never got around to it. The safty of the cab with its seat belts also appeals to me. RVD, I did a number of camera car shots with Mr. Webb, but I remember him doing it like us, nothing out of the ordinary, other than him being off the camera truck, But I could be wrong, I'll check with Jim Stube next time I see him, he did a million shows with Jim. I wish Jim posted here, he did it all and would be a great asset to the site. Regards, Old School CrewC
  18. Hey Vin, cool picture.... U R right, same spirit shows through in both photo's. Regards, Old School
  19. Interesting technique. Do you try to create prospective with a open mic, or just use the lavs?
  20. Great post SoundHound. A lot of great boom men have advanced the craft of sound recording for film, it's job one. Pat Suraci is a classic, just IMDB him. Don Coufal, another great boom op. He is teaching a class 6/17. Check it out. Learn the craft of recording sound for film. i will be there. Regards, Old School
  21. I love the credit, " Production Sound". Thats the credit I always sought when I worked on films, as a cable man, boom op., mixer. Thats how I spell team. Follow RVD's advice, You won"t be sorry. Regards Old School....
  22. Hey EZ St. welcome to Jeffs site, there is alot of talent here, I know you will learn and be entertained @ jwsound.net. Also, as I mentioned to Stu today, any boom op, or mixer who want to further their film sound recording education should attend Don Coufals class on boom operating and more, on 6/17. Check local 695 for info. Regards Old School
  23. Hey G$$, Just curious, What market do you work in? @ 160 days a year it sounds like L.A.. If thats the case then telecine shouldn't be a problem. Just wondering. Regards, Old School
  24. Hey Sara, can your friend build a cell phone zapper that I could use to vaporize all the people on the sets I work on that feel they must make or take calls when we are rolling. I think this could become a hot selling item. Regards Old School
  25. Also, like Tim Apter said, mucho more photos please. Nothing says it like pictures. OLd School...
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