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mikewest

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Everything posted by mikewest

  1. Production Mix Structure

    Too bored to learn? mike
  2. Alexa Mini TC sync

    Thanks Chris No but I guess that's another lesson for me mike
  3. Production Mix Structure

    Wow Veit did that fix the understanding? mike
  4. Alexa Mini TC sync

    I may have queried this before but found I could not get an Arri Mini to accept external t/code A/C had no idea Eventually the DIT guy said the camera was set to "preset" and that was the cause There was no Arri monitor on the camera so were using a bluetooth app on a cell phone Oh well I'm putting the puzzle together piece by piece mike
  5. Deal Memo after the shoot

    If the deal memo is in deference to your phone agreement, Phone producer offer thanks for the memo, Point out the errors and reach an agreement mike
  6. Production Mix Structure

    Sorry you don't get it. I do not understand your comment " I would never not boom any scene ever" If you've ever recorded music in a live space say an orchestra it's a similar process Use a stereo pair close to the orchestra to get detail Then use a mono or stereo mike pointing at the back of the venue Then in post mixing you can achieve a balance of close and ambience This particularly is useful if multi camera shooting covers wide then close shots Just like dealing with actors!
  7. Production Mix Structure

    Thanks cstauffer. To Veit, well it's simple as all interiors have an acoustic excited by actors voices unless they whisper. If you have clean tracks of the lavs and an iso track of the ambience boom you can add acoustic on the wide shots to in effect produce perspective, I think my example posted yesterday shows that mike
  8. How to hide a Sennheiser ME 2 on talent

    It should be possible to rent a TRAM for the shoot or even buy a used one as they are not expensive. Remember we are trying to protect your reputation and your future. I guess you are you recording a drama and not a "videography" style shoot. I have used Sennheiser lavs when I bought into their expensive radio mikes and used them for feature films stuck on the inside edge of a hem for example, but it's not guaranteed to get the best result! Maybe show the director some of our posts and always "argue" on the basis that you are trying to do your best for the production. Good luck mike
  9. Production Mix Structure

    Hi Veit, Gee I've watched so many British series in the last two months that I cannot be specific. You do need to listen on a good speaker system or headphones to evaluate the approach. Well a boom in a wide shot gives ambience but it does not offer the voice detail that lavs give. In using a boom for just ambience it should be pointed at the ceiling and certainly away from the actors so that it picks up clean ambience, not mixed with the lavs but captured on an iso track. Then the rest is up to post production! https://www.tvnz.co.nz/shows/the-cul-de-sac/episodes/s2-e5 This is a link to an episode of a series that I recorded The scene about 9 minutes in was shot in a very large empty space with two cameras and I used lavs in the actors and an ambience boom. There may have been more echo added in post. mike
  10. My Tram-TR50 Technique

    Found this old topic Sure I have my way of applying TRAMS but now I only use Sonotrims One hint is to carry some fine wet & dry sandpaper to remove sharp edges from the vampire or body mount holder Yep and I often use B6 mikes under tee shirts as they are so low profile Also I have developed the perfect windshield for TRAMS used in very windy situations, it's not low profile but it works! mike
  11. Timecode slate

    A great tool for many editors plus you put it on the invoice! mike
  12. Production Mix Structure

    Hi Tom great post! A split mix plus ISO tracks is the way to go A lack of time and rehearsals is dominant so true mixes are just luck particularly if actor stick to the script, timing etc as in the day when I mixed to a mono Nagra. Have seen several great TV dramas on Netflix where an ambience/acoustic boom is used to render all the lavs true to a wide shot by adding some acoustic. Times have changed, more lavs, less true boom work (maybe close-ups). Regards mike
  13. Traveling With Cart Overseas

    A large Pelican for your gear to travel in and a Zuca cart is a great way to go (plus a fishing stool) Picture attached mike
  14. murky dialog -- Noah Timan

    A great friend of mine who has a big post studio in KL (Imaginex) mixed a film that I recorded. He then went to a lot of trouble to get the huge premiere cinema sounding good. So it's not just about the supplied mix but previewing at the cinema and fine tuning. mike
  15. Recording applause in Germany - Advice

    Ola ! Ramallo Yes my Sound Field!! mike
  16. Running the Set

    Team work is the answer Let your boom op present solutions to you and then you can input your own ideas mike
  17. Microphones used in headsets for astronauts

    wow too much information ! Can I get a job at NASA now? mike
  18. Verbal ID maybe but mark it on your sound log as an atmos and relate to scene number or just wind in trees traffic, sea etc If its replacement lines or VO do the same - it's so simple and just brief accurate communication! mike
  19. RIP Walter Becker

    Very sad!!!!!!! My kids and I loved their music Saw them live in Auckland a couple of years ago So sad but his cd's and DVD's live on! mike
  20. Firstly editors do seem to prefer a mix sent to the camera so they and hear the words during the edit and not rely on syncing/using the sound files Secondly it's a RED so yeah! mike
  21. DUNKIRK: Too Loud?

    I suppose it depends on the cinema! I saw it at a local cinema, great sound quality and loud Brilliant aerial shooting, low on drama story, score virtually non existent. Not impressed mike
  22. RIP - Ed Greene

    Wow what a great man with an amazing CV Reminds me of Ted Scott with whom I worked with at ATV in the 60's Ted was a natural music mixer and recorded The Muppets tv shows and the music as well! mike
  23. Bye-bye 600 MHz – Audio Technica Response

    Hi Cody I guess it depend on which block 24 26 and 25 are now viable and some like 21 but 22 is a no go mike
  24. Bye-bye 600 MHz – Audio Technica Response

    NZ and maybe Australia will be in the market for 600 Lectro gear ! mke
  25. As well as watching the American equivalent we decided to re-visit the 1990 English version. Well 4.3 picture and 16mm film is not the best but the sound is interesting!!! All done on a boom (probably a 416) with brief wide shots overlaid from close-ups. Great boom operating though with much close dialogue on the move! Gee I was using lavs a plenty since 1980 on features but I guess the style for tv was simple Oh well styles move on now lavs in ties and frocks are the current trend Interesting mike
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