jgbsound

Members
  • Content count

    145
  • Joined

  • Last visited

About jgbsound

  • Rank
    Hero Member
  • Birthday 08/22/1962

Contact Methods

  • Website URL
    http://www.soundslikepostproduction.com

Profile Information

  • Location
    Los Angeles
  • Interests
    Music, Cooking and much laughter.
  • About
    Production Sound Mixer by day, Post Sound Editor and Film Score Composer by night
  1. Thanks everyone. Much appreciated.
  2. I have a fusion 12 that feature didn't exist when I bought it. John
  3. Thank you! I searched for MP3 & Timecode but didn't see this! Exactly what I needed!!! Thanks again, John
  4. Does anyone know of an application that can convert broadcast waves that contain time code to an MP3 that has time code embedded? I run into this problem on a shoot today. They need transcripts right away and didn't want to wait to upload the full-size wave files because the interviews are two hours long. They Needed transcripts right away because it's a sports related show and didn't want to wait to upload the full-size wave files. I'm hoping there something out there. I gave them the mix track but they wanted an MP3 with timecode . thanks for any guidance you can give me, John
  5. Howdy Ladies and Gents, I'm hoping to find some work for production audio. I have a kit with: Boom Schoeps CMIT5U 4 zaxcom wireless kits, (2 900LTs, and 2 ZHDs, and two stereo receivers. Fusion 12 Deck, smart slate 2x Betso TC boxes 5 Zaxcom comtecs, and a DPA 5100 surround sound mic. OR any post mixing gig you may need help with (I have a studio built onto the back of my property). I have PT 12.6HD, AVID S3, AVID Dock, and can mix in 5.1 or 7.1. Also Neyrinck's Dolby Digital 2 plugin, and a whole host of other goodies. Thank you and have a great 2017! John
  6. ADR it. You'll spend less time doing it and you'll need to process the crap out of it to try and save it. Steve hit it on the head. the sound fluctuates, (it's not a steady state sound which can be more easily be fingerprinted by BNR programs) . the amount of processing you'll wind up doing will make the audio sound terrible. Re-record it and drop in a beach SFX. That way you can control the ocean.
  7. Thanks for the suggestion, I'll give it a try!
  8. Yeah I finally talked him into some limited ADR but we'll see how far that goes...
  9. I bought the DPA 5100 about a year back specifically for a documentary film I'm on for recordings in Costa Rica, Panama, Hawaii, and Indonesia. Besides just being plain old fun to make surround recordings, I found it quite durable and easy to pack away in my backpack. It has a top screw mount so I can place my CMIT on top of the mic for directional stuff. I haven't given this a try quite yet but that makes for a heavier load to tote around on a pole. I really have to be careful when recording field recordings. A longer cable is necessary, or at least the mic needs to be above your head so you don't block rear channel stuff. My only complaint is the LEMO cable. It's quite expensive if you want to replace it (to the tune of 600+ bucks). And since I rent it occasionally to others, I'm always worried about it being damaged.
  10. Thanks guys. I have a pretty good sounding mockup and it seems to be working! Sounds good to me at least. I think it will work!
  11. Hi Phil, I'm hearing the actual mechanical sound of the film sprockets. It's not a constant hum which would be easier to remove since RX5 really works well with steady state background noise. I'll give declicking a try. I hadn't thought about that. Thanks!
  12. I have a Volvo C30 and with both back seats folded down, it's like a mini station wagon. Plenty of space for all things sound related. I can fit a cart, 2 full apples, and all my sound gear, PLUS, I even double up and fit all my partners camera gear. But that's loading it to the top. Not great visibility out the back if you do this however. This is without the back seats folded down but you get the idea.
  13. Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably not be into because the performances are really good -- plus there's nothing really wrong with the sound other than the camera sound. I did try some BNR (iZotope's RX5) and that helped a little. I don't normally edit films shot on film so this is new to me. Any suggestions would be greatly appreciated!
  14. Thanks Jez, I found him! It's Greg Burmann and here's what he had to say about recording the sound of guns: I recorded most of the fx used on Thin Red Line, but not the live round105mm. If your recording for a feature, then I used lots of mics, and lotsof tracksThis is what I did that worked bestI used a Nagra 4S, and a Sony PCM800 8 track recorder.1 I put 2 dynamics (EV RE20, and EV667) about 3 metres from the weapon. 1mic (A) abeam the weapon pointed at the end of the barel, and Y corded that,via a 20dB pad, into the Nagra, and the Sony PCM800 track 3 (with the Sonyinput levels set to LINE level). The other mic (B) pointed at the weaponfrom behind , and Y corded that, via a 20dB pad, into the Nagra, and theSony PCM800 track 4 (with the Sony input levels set to LINE level)2 A stereo pain about 15 meters abeam of the weapon, into Sony track 5and 63 2 shotgun mics about 100 - 150 meters away, but each in a differentlocation (We recorded near a rock cliff in an disused quarry, so 1 shotgunwas near the cliff, the other behind the weapon, and angles to AVOID as muchof the cliff echo as possible4 I set the Nagra levels for a slight amound of tape saturation, themeter JUST hit top stick, but no more (I wanted the fx to be reasonablyclean, not too crunchy)5 Jam sync both machines, or log the start timecodes, so thet the Nagratapes can be dubbed to Sony tracks 1 & 2 in post-production. The soundeditor can then pull all the tracks into sync (or leave them out of sync),and by a simple mix, can set the perspective of the fx. I think that most shotgun mics would distort badly close to the weapon, so for the close-up mics, use mics that can handle the levels Have fun, firing a Tommy gun is fun!!! Regards Greg
  15. Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas on how best to achieve this sound? I wonder how do the big guys do it? It's a single shot to the head, execution style. I was planning to have a startled flock of birds fly off afterwards! I do have a DPA 5100 and could record the sfx myself, if need be. But I'd need to travel to the mountains to do it and find myself a luger since this guy is a WWII buff and would only want an authentic sound. Just hoping I can create something digitally. War is hell but editing the SFX is pretty friggin' fun! Thanks in advance! John