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Everything posted by jgbsound

  1. Howdy Everyone! I am available for work in both Los Angeles and the San Francisco Bay Area as well (I can work as a local up there). I have: Zaxcom 12 Track deck 4x Wireless Lavs 2 Timecode Boxes 1 Smart Slate Schoeps CMIT5U /Boom Boundary Mic DPA 5100 5.1 surround Mic Thank you! John (415) 305-1667
  2. Thanks everyone. Much appreciated.
  3. 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
  4. I have a fusion 12 that feature didn't exist when I bought it. John
  5. Thank you! I searched for MP3 & Timecode but didn't see this! Exactly what I needed!!! Thanks again, John
  6. 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
  7. 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.
  8. 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!
  9. Does anyone have a standard workflow they use when equalizing a thinner lav feed to the more robust boom? I'm assuming you probably use the spectral analysis in protools coupled with an eq. There used to be a bias app called repliQ that did an awesome job but they're outta business. It seems rather clunky to do it just by ear and I'm assuming those who have more experience know exactly what to do. Any suggestions? jgbsound
  10. Thanks for the suggestion, I'll give it a try!
  11. Yeah I finally talked him into some limited ADR but we'll see how far that goes...
  12. 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.
  13. 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
  14. 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!
  15. 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!
  16. 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.
  17. 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
  18. Hey Guys and Gals! So I'm editing this feature and I keep getting "Video Engine was unable to stop." Error. I'm able to remedy it easily by closing the session and relaunching Pro Tools but it's damned annoying to do. It seems that it happens when I click into the timeline someplace, but my hand isn't perfectly steady, so I accidentally make a micro selection of a tiny tiny region. I went up AVID's support site found a few postings where others have been fuming about this issue not being addressed back even in PT11? I didn't want to waste my "1 per month" tech support ticket with AVID on an issue that is known and not yet fixed so I wanted to check if others are having this problem and possibly found a solution for this? I'm running PT 12.4HD native on a Windows machine. Thank you for any suggestions you have! John
  19. Hey Mark, which reverb do do you use for your ADR matching?
  20. This is true. I have iZotope's EQ match in RX5 advanced and it simply learns the envelope and applies it often causing unwanted problems. I finally gave up on using it. I'll look at the app you mentioned Phil. Ultimately I'd just like a starting point to perform my own EQ tweaks. I do all my EQing in automation anyways so it's flexible. Amazing how one day I can really like my EQing and the next I change it again.
  21. I totally agree Phil. I was mainly interested in the "differencing" of the EQ settings as a reference, more so than having a plugin magically fixing my EQ/compression issues. What I'd prefer is a software that gave me the comparison and allowed me to apply the EQ accordingly and tweak as I see fit, rather than just applying an algorithm to "fix" my problematic areas. I thought was that this plugin appeared pretty comprehensive in the way that it could allow you to "learn" and apply it elsewhere to fix certain issues. Mainly the DeEssing and adjusting for different recording feeds (Since I did a fair bit of ADR in this mix). If you know of a software that just analyzes an area and reports a suggested change (EQ-wise) I'd love to know about it. That's my ultimate goal. John
  22. Hey Jack! Just checked out Pro Audio's DSP Dynamic Spectrum Mapper (I watched the video anyway). That's really impressive. I'm going to download the trial and try it out! Thanks for the recommendation. John
  23. I was able to achieve more stable video playback when I upgraded my video card to a Quadro M4000. It complains less and only once in a while gives me the Unable to stop message. Two things seem to really help: Turn on pre-roll and set a pre-roll time interval for even just a tiny bit. Changing the setting for video latency to a longer setting seems to help too.
  24. Hey does anyone know the legal issues with using iphone sounds on a feature? I have a fair amount of characters who are using iPhones in this film and I was hunting around for royalty free SFX to fill in the "text received", text sent, ring tone, picture snapshot sound, etc and was wondering about using apple's stock sounds straight from the phone? Are there legal issues with doing this? Thanks for any advice, John
  25. An update: YES, it's pretty damned easy to do apparently. Here's what you do: Email permissions@apple.com Here's what I sent them: