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misosound

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About misosound

  • Birthday 07/10/1981

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    http://www.misosound.com

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  • Location
    Los Angeles, CA
  1. I definitely agree. I miss hearing the roar of the crowd, which seems to be totally drowned out by the horns. On the flipside, in addition to bees the horns remind me of atonal horror-film-score string progressions, which sometimes make the nailbiting plays all the more suspenseful ...
  2. On a multitrack recorder like the 788 or the Deva, couldn't you route the input that you wanted to distorted to two separate tracks, one safety and one intentionally distorted? That would seem to be the best way to handle the situation in my mind.
  3. I've had a director tell me that she and the DP wanted the full frame completely clear because they "wanted the full frame for safety to be able to adjust the frame line in the online." My mixer and I found it very frustrating because the locations were full of traffic (one was the rooftop in downtown LA) and talent wasn't speaking very loud. I would think that the utility of shooting full frame 35mm would go right out the window because unless you telecine to DVCAM or some other SD full frame format, your dailies are coming in as a 16X9 HD format and you lose everything above and below the 1:85.
  4. When I was at USC we used an SD442, a Fostex FR2 and and a Senn 416. Lavs were always the weakest link there - right before I graduated, we got a pair of G2's, which far outshone the old Lectros that we were stuck with before. The sound packages were definitely not amazing, but considering that most of the 16mm shorts were shot on Arri S cameras from the WWII era, I couldn't complain that much. The sound department was quite good overall, but there were definitely the directors and producers who understood the importance of preproduction planning for sound and then those who whined when the ADR that filled up most of their films' soundtracks stuck out like a sore thumb.
  5. Q: Why can't a DP smoke a cigarette? A: Because it takes him three hours to light it.
  6. If you look at Movie Inspector in Quicktime (APPLE + I on keyboard), it should tell you under Format which video codec the Quicktime movie was encoded with as well as the audio specs.
  7. I respect directors who value the aural component of their actors' performances and don't want looped lines to replace them. However, if a director insists on using only production sound, he or she has to be prepared to work hard with the production mixer to allow those performances to be properly captured. Consideration and foresight are required, especially in the case of a period piece. The decision to shoot with three HD cameras simultaneously, each with multiple noisy fans, is the reason why almost every relatively quiet scene in the film sounds like it takes place in an air conditioner showroom. Kevin O'Connell's comment in Mix about not being able to pre-mix the dialogue because Michael Mann "likes to work from the raw dialog tracks" also struck me as a bit ridiculous, especially given all the production sound issues that Ed Novick had to struggle with. I find it incredibly frustrating when a director doesn't seem to want the quality of the soundtrack to change in any way from what they've been hearing in the editing suite. Once when I was mixing a short film, the director pulled out his laptop, played the Final Cut Pro session off of the laptop speakers and said, "I want it to sound just like that." Frustrating.
  8. I finished USC's graduate film program a little more than a year ago. My graduating class was the last one that was required to take an introductory sound class that covered sound theory and film applications their first semester. The undergraduate students are still required to take the course and it's really amazing how great the knowledge gap is. As mentioned before, the only students who have a working knowledge of sound for film are those who plan on going into the field specifically. Beyond that, there are far fewer students going that route because sound is not being taught early the way it should be. I definitely learned most of what I know from my hands-on work on sets as a mixer or boom op and in the dub stage, but I would have never considered pursuing this route if it hadn't been for that first class. My fondest memory of film school is still the first day of that intro sound class when we got to watch the stems from Raiders of the Lost Ark and wondering how the hell they did all that.
  9. Hello everyone. My partner and I are still in the fledgling stages of our career in film sound and still sorting out the business side of things. We do both production and post work. Sometimes producers ask for rate cards and reels for production sound gigs. Do you guys break down all your gear separately on a rate card or do you just have a few different rates for different types of shoots? In the past, we've been giving producers a day rate that included our services and our gear rental. Also, does anyone actually make production sound reels? Knowing the heavy and involved audio workflow from production to post, it doesn't seem very useful to me to create a reel since the production sound usually goes through a substantial transformation in dialogue editing and re-recording mixing. If I were to make a production sound reel, do you think it'd be more useful to show before and after type footage - what came out of our recorder vs. what came out of the final mix? Or the best sounding raw production recordings we've made? Or simply just sound from the final mix from projects? Thanks, Paul
  10. I've always wondered who gets all the seemingly decent Craigslist jobs and how ridiculously unrealistic their equipment, experience and rate must be in order for posters to never even consider me. It's amazing how many producers think that their projects are so fantastic that professional sound crews will leap aboard, offering up their hard earned equipment and work for the dreaded "copy and credit." Post production sound is even worse - I can't believe how many posts say something like, "I have a 35 minute film and there's tons of traffic noise that needs to go away and I need a 5.1 mix and I can pay you $100 for your work."
  11. Hi. My partner and I are more or less starting out. Currently we use a SD 302 and 722, which despite their I/O limitations have served us very well. We have just landed our first feature film job, so we've decided that it's time to upgrade our equipment. Originally, we were leaning towards purchasing a 442 mixer and 744T recorder since we don't anticipate using more than 4 input channels and it seemed the closest match for our current setup. However, lately we've been considering the 788T since its cost is roughly equivalent to the 442 and 744T combined. If we go the 788T route and get the CL-8 controller bar, are there any disadvantages to a discrete mixer and recorder setup? Or is the 788T clearly the way to go? We've also briefly eyed the Zaxcom Fusion which from all accounts I've read is an excellent recorder. But is the Fusion an impractical choice when not paired with a mixer? Any advice or experience would be greatly appreciated!
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