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old school

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Everything posted by old school

  1. Back to school for Old School? Thats a good idea, I hear schools are co ed these dayz... Might even go to a kegger or two. Do you know when Apple is shipping? Max Respect, Old School
  2. I was thinking about the new desktop tower mac for my home studio, (FCP and PROTOOLS and some MOTION work), but the new Imac 24 inch loaded up and ready to run two monitors, (my old 20in.), I'm tempted at the price point. Any sisters or bros, friends or foes with any POV"s or thoughts? Max Respect, Old School,CrewC, or Pappy, ( I'm called all three)
  3. Hey Larry, we use to say that the only way to get a good rehersal was to shoot one, which is true of course untill they print it and move on, in which case you better be good or lucky or both. I've been lucky and unlucky in this regard. Max. respect, Old School
  4. Thats funny, My brother Moe and I do the same thing out of habit I suppose. I wonder if it's a old timer thing, or if others do it as well? Also if we yelled something other than speed, (I always said sound speed), would the rest of the crew know what the F we we saying? Also script always asks what roll am I on, and I say folder whatever and I get the strangest looks like I've gone mad. I guess new terminology will evolve sooner or later. I wonder if the younger members even know why we would put a single tone at the start of a take, and two tones at the end? perhaps the answer is in the question. Max. Respect, Old School
  5. Hey All... This is a little off subject, but whenever I used to get the mic in frame, and it was "cut,cut,cut, boom on the shot!" I would always say, " No wonder it sounded so good." It would either get a big laugh, or go over like a fart in church. Most times the former, though there is a risk of the latter, but as one who enjoys stirring things up, I always said it. To this day Marydixie always use's it with great timing, though she rarely breaks frame with the mic. Max Respect, Old School
  6. Hey Mick, I like the expression "digging in the porridge" though I hate the sitsuation you are describing. I don't get actors who mumble, or directors who let them. That said, there seems to be alot more of them these days, must be some acting class or something. I can't speak for others, but when I was posting about the use of EQing on a previous thread, I was speaking as a general rule of thumb, not a hard and fast rule. I think we need to do whatever it takes to record useable dialog, even RF mics on a ECU with alot of EQ if thats what it takes. I would be curious to know about your relationship with post and rerecording on CSI, do they have request about EQing, Daily mix"s, iso tracks, etc. Hope your recording day gets better, and I hope I don't find myself "digging in the porridge" Max Respect, Old School
  7. old school

    ENG

    Hey Mick, how goes the war? 2 posts in one day? Sounds like your winning.... I too try to help out the ENG guys with feeds and talk a little shop talk, you know, meet the guys comming up, et all. We always check RF freq's etc and I try to give them a heads up as to what we're doing.... Way back in the day I did a little "behind the scenes" shoots with a cameraman with a 16mm Ari and me with a mono nagra and a bloop light, etc.... We called that "over the shoulder" work. One shoot was a movie called "Meteor" and I met a mixer named Jack Soloman who had at that time done a million movies, from "The Magnificent Seven" to "The Graduate", "Funny Lady" ....... A real pro who could of had attitude all day long if he wanted to, but he was not only a gentelman who took some time out of his day to give me( a very green kid out of film school)his P.O.V. about the craft and just life in general. I had a great day and learned a fine lesson as well. We all get very busy on the set with our jobs, but never too busy to be people. Screw "elites". Power to the people. Max. Respect, Old School.
  8. Hey Doug, Nice art of booming example, sounds like a "In Production" thread that Redge was suggesting. I don't know about others, but I never used to wear gloves cause I felt I wasn't as responsive to the moment with gloves on. I see alot of boom ops wearing them, so I guess it's what you get use to, but I hated wearing them. I'm working with an old, and I do mean old friend today, Mr Mychal Smith, a 1st class dude and boomer, and he only wears gloves when it's cold or raining. I don't think Marydixie wears them when booming, but does when cabling or when it's cold. Max Respect, Old School
  9. Hey all, greetings from So. Cal. I don't know curleysound, or maybe I do, hard to say, but I agree with almost all in his mission statement, except that it is a job, and like all jobs, we must be able to walk away from it no matter how much we love it. Maybe I'm reading between the lines.... I suspect that when curleysound writes I he means We? who knows? the curlman do.... Have a great day... Old School.....
  10. Ouch. I feel for you man. As bad as the $$$ hit you took, the emotional hit has to be even greater. RVD/MXR had the same bad luck some years back and as you can see it didn't stop him and it won't stop you, as Mr Perkins pointed out the A- holes didn't steal your knowledge. Hang tuff, we can only hope for some instant karma for the crooks. Max. Respect, Old School
  11. hey all... I never backed up my good old nagras. I backed up my hhb dat machine for about 4/6 months when I 1st got it. I backed up my deva 4 with the hhb for 6 or so months, but not any more, for almost a year and a half?? I have only run my deva and I mirror to dvd ram as I go. No problems with the recorder in all sorts of enviroments and conditions. So far, so good. I of course still carry dat recorders as back up, and I use pro tools for playback, or I could run it as a back up if I had to or had some other reason. I try to keep it simple. Max Respect, Old School
  12. Hey Doug, sorry to hear about your confrontation with your mixer the other day, sounds most uncomfortable, but rest well that you did the right thing the right way.  As others have stated, your life is not worth loosing for a film. The Mixer should of 1) radio mic"d your boom, or  2) run on batteries and comteked vtr and hard wired you. No a.c. in the system. I've worked in the water this way, sent my brother and others into a few pools this way. From all I've read this is safe. It's not much of a team if the mixer doesn't understand your safty concerns, and puts you down in front of others, but keeping your cool was the right way for a pro to handle it. I know jobs are hard to come by, but working with a mixer like that is not worth it. Safty 1st. Max Respect, Old School
  13. Hey Bruce, I didn't Know you taught at a film school, but being a film school grad myself I do know that they all want to direct. Who wouldn't? I think your points are well observed and one needs to know one's audience. If you ever teach a class on Doc sound or your wwork on Woodstock, sign me up, I could listen to your stories all day/semester. Max Respect, Old School
  14. Hey Doug, ramble on, thats what the forum is for. I enjoyed meeting Doug and all the other fine folks at Don Coufals "Good Sound" class last sat. I think Don did a great job presenting a complex subject/system, within which we all work. He probably said more in those two hours than he said on our 1st picture together( 5 months on "9 to 5" ) Don is a wise man of few words, so I hope you enjoyed them as much as I did.   Hey Tim, if your gettin paid , then your a pro, but all pro's can emprove their game so I encourage you and all sound peeps to work on their game and you'll blink a few times and wake up to find that you've been in the league 30 plus years and you are one of the new old guys. I continue my education all the time, but I also work on having a good time doing my job which I believe to be equally  important. Max Respect.... Old School
  15. Yea, it's good to hear the old Nagra is still out and about on a project or two, long live the Nagra/ rest in peace. Also I would like to congradulate Mick as well, though We have never had the pleasure of meeting, I feel I know you through Bryan Wholley, Micks third man and my nephew. I know how hard you all work and I hope this is your year to win. Regards , Old School
  16. old school

    photos

    Hey Jeff, I know this sounds stupid, but how does one post a picture on your site? I don't post a whole lot of places so it is probably easy, but I've never done it. Give me a call or post it when you have the time.. CrewC
  17. I've got my stereo tc Nagra in my home studio as eye candy for this old school mixer, they still look great, so does my 4.2..... Every once n awhile I will make a kick drum loop to use in a song. I'VE got 6 loops in my collection. Max respect.... Old school..
  18. Hey Courtney, I understand and agree that one would never cut T.C. playback tracks, but I have cut and rearanged tracks for play back to be used as puppet or animated voices to cue on camera actors. I'm doing a movie for cartoon network right now and everyday I'm cutting and moving tracks around for creative reasons or to make my cuing tighter. Without a program like protools, I can't imagine being able to do this in a timely manner. The good news is the tools are cool, the bad news is we are now expected to pull the rabbit out of the hat for the same money as basic recording plus a little for extra gear. Regards , Old School PS I still have my 1/4 in splicing block and tape roll, do you and all the others out in the sound world?
  19. Also Bruce, call me if you have any questions, I can talk alot faster than I can type. adios
  20. Hey Bruce, Crew C here, nice to see you posting at Jeffs site. I've had great luck using the M box that comes with , or is Pro Tools, it works with Mac or PC. You can set up your own tracks, program on 1 tc on 2. Send 1 to your board and then to Playback, and TC out of output 2 to a comtek and then to the slate. SSI also will set up your tracks this way, or any way you want them. They will send them to you on a cd or dvd, or you can download them from their web sight, which is very cool and fast. They said that they don't do dat any longer. On Pro Tools, the wave form on the edit window is easy to read and you can set markers, or loop sections or the whole track. Pro Tools is a very deep program/softwware system that will enable you to do just about anything you can think up, though it can take awhile to learn all of it, but basic recording and playback are simple. It may be worth your time to check it out. Regards , Old School PS say hey to Ron
  21. Oleg, thanks, you are right about the 5 pin cable system 4 video cams being the best way to feed and monitor the cameras, unfortunatly I have 200/300 foot runs to two, sometimes three cameras, and I couldn't pull the trigger on the cost of all new cables, but it would make life easier on this shoot for sure. Regards, Old School
  22. Hey All. Even though commercials are my game, I find myself on a 4 week mow/pilot for Cartoon Net. being shot with 2 HD cams, and all I can say concerning this work flow is have a lot of cable. A whole lot of cable. I'm rolling back up for the HD cams on my system,( Cooper,Deva4,, etc.), but Prod and Post want me to treat the cam tracks as master trks. This is the flow I work with most in commercials, though I have done it double system on many shoots when telecine is involved. Normaly I send my mono mix to the camera by cable whenever possible, and split it at the camera, and then set two levels on two trks, trk1 at -20 and trk2 -18 or so as to help out on head room since all the cams and systems are all over the map in quality. I try to get a return feed, but it's not always possible, and almost always no help anyways cause of the monitor quality, so you are always working on faith and back up system. I wish we had some sort of S.O.P., but it's not here yet. To me it seems like a giant leap backwards on many levels, yet the future on others. I've seen and heard great stuff on HD, as I've seen us cluster F a simple shot because of the cumbersome nature of HD and the various systems out now. Boom operators hate HD in the hands of fools because of the extended roll times and cable issues, etc... I think we will lock into a standard someday, but it's not here yet. At the end of the this day though, I'm having fun working on a film again even though film is a old school term. Maximum Respect. Old School.... PS: sorry about the spelling in all my posts.
  23. Damn RVD, I didn't get the memo about the" look" being so old school, thank god I can ditch the leg warmers, it's been hot in SoCal lately. I would second both Full Metal Jacket and Raging Bull for the list of classic perspective. Also Carl Fisher is a top notch boom op and all around dude, he and all boom swingers deserve credits on a film they work on. Speaking of work, I gotta work on my new look. Regards. Old School.
  24. Thank you Cortney for making the subject easy for all of us to understand concerning our contract. I'm suprised at how many IA members I work with have never read the contract. I think all IA members should have a copy and try reading it, it's not that long. Andrew also makes a good point concerning 16 hr dayz and costs. I also thank Noah for being a realist. Old School
  25. Sorry to hear about your Fx coordinator. Driving is the most dangerous thing we do every day. Add to that the hours we work and it becomes only a matter of time before something like this happens. More people should see Haskel's movie, including your producer. Drive safe all. Old School
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