Marc Wielage

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About Marc Wielage

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  • Birthday 10/01/1954

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  • Location
    Hollywood, USA
  • Interested in Sound for Picture
  • About
    post supervisor, colorist, raconteur and rabble-rouser
  1. I use Resolve almost every day in my other life as a colorist and sometimes post supervisor. I think it's great for color (in many ways the standard of the industry), but it's not quite there as editing software just yet. Getting closer all the time. Resolve v14 is very, very "Beta-ish" and not stable enough to use for anything beyond testing at this point. I was surprised that they shoehorned Fairlight into it; even Avid isn't crazy enough to combine Media Composer and Pro Tools into one product, since they serve different markets. I think Blackmagic's philosophy is that if editing, color, and sound editing/mixing all uses the exact same timeline, there will never be a problem with the post handoff between departments. Fairlight is so new for Resolve, most of the user manual pages are still blank. I'm gonna wait for the paint to dry before trying this thing out. Potentially, this could shake a lot of things up: you can literally have an editor working in one room, a colorist working in another room, and a sound editor/mixer in a third room, all accessing the same project and updating on the fly. I think it won't really be stable enough to use until July, but there are parts of it that are formidable. Hell, I'm thrilled that it runs faster and has more color features, which is all I want. I don't think it's a super-serious competitor for Pro Tools just yet, but then, when Resolve was introduced at $995 about 7 years ago, it had a fairly catastrophic effect on the post business: everybody in the color business eventually had to cut their rates and all competing software/hardware prices went way down. Then again, a Deva 2 was $15,000 15 years ago, and a machine that does all of that is roughly 1/3 the price today, so the same thing is happening in many parts of the business.
  2. It's bullshit. There's always a price to pay for noise reduction, and I would much rather leave this decision to the discretion of the post crew.
  3. Jeff, when you used the Sony TCD-D10, I assume you resolved it (or at least played it out) to mag for syncing in dailies. How well did it stay in sync? That would scare the hell outta me. I remember the DAT store, and I had a D-10 myself that I bought once Sony reluctantly brought them in as a consumer product. For the record, there were a few (very few) Mini Disc machines that recorded real uncompressed 48kHz WAV files, but not many. The compression was basically about 384kbs, better than the best available download music today, but still not the equal of a lossless or WAV file.
  4. A lot of this crap happens just due to a lot of bad habits seeping in to some crews, and a lack of discipline required to do things in a structured, orderly way on set. Even on a "loose" documentary, they have to call for rolling sound & camera, then slate the scene just so that everybody is on the same page and knows they're in record. I particularly hate directors who don't yell CUT loudly enough that everybody is aware of it. Way, way too often I have called out, "are we still rolling?" or "sound still rolls!" and it takes much longer than necessary to get an answer. Very sloppy on the part of the people involved. One wishes there was a little transmittable red light (like a Wi-Fi tally light) that would light up whenever the camera surreptitiously recorded, and the sound department would know that camera has rolled without anybody knowing about it.
  5. Yep to Stacy's advice above. It can be done, but it requires time and patience. It does help to prep the new SSD drive prior to installation, and Apple makes you jump through hoops in order to download the OS but not install it. It's a little kludgy. We did it with two recent Mac Minis and it makes a big difference in boot time.
  6. Jesus God, don't assume this idiot is going to get re-elected. Let's hope for "only" four years of madness.
  7. Glad you're OK! I've also been the utility guy with the parabolic mic before (going back to my live TV days in the 1970s), and while I never got hit, I did fall to the ground a couple of times when I went one way and my cables went another, or somebody in the area stood on our cables. At least it wasn't raining and in the mud!
  8. Gee, "SFX" might work.
  9. 5000 feet is not much -- that's less than an hour of material per day! I would say two hours is more typical, at least on an average low-budget film. There are always exceptions: I've seen TV shows that did A&B camera and shot 5-6 hours of material per day. And yet on Rob Reiner's Bucket List, they actually did shoot only about 5000 feet per day, because of the shorter schedule demanded by Jack Nicholson.
  10. And the ADR Nail Salon.
  11. Yep. Any whole-integer timecode will work fine with 24.00fps film: 30fps or 24fps. The problem with 30 is always that there's the possibility of a "half frame-number" displayed on the slate TC readout. In America, they almost always cut at 23.976, but they basically do all that during the telecine scan, and just take the sound timecode and apply a .1% pulldown. Be sure the camera crew does not shoot 23.98 and stays at 24.00fps all the way through. I have seen some wild trainwrecks when people overthink this problem. It never hurts to indicate on the slate what the camera frame rate is. One great thing about film shoots: everybody is keenly aware that the moment they're rolling, dollars are going through the gate. Even on big-budget productions, it seems like there's more "respect for the frame" when film is rolling, and consequently a lot less screwing around.
  12. The other thing these editors have to get is: this is their job. They also have to consider that there are plenty of projects -- particularly on reality and documentary shows -- where there are going to be more iso tracks than there are available channels on cameras. If you have (say) six tracks and two cameras with 2 tracks each, how are they going to do deal with getting those extra audio channels when they're needed? God help you on a show the size of Survivor where there's upwards of 24 tracks per day. Heck, there's all kinds of scripted shows that have 10+ tracks every day. If the camera timecode and sound timecode and slate timecode are identical -- which they should be -- this is a piece of cake that takes less than a second to do. Heck, even if camera timecode does not match, it's possible to locate the correct file and sync it up in under a minute. If you had (god forbid) 200 shots in a day, that's 200 minutes or maybe 3.5 hours to sync it all up purely by eye. To me, that's what assistant editors are for: have them come in at 5AM, backup the production drives, copy everything over, start syncing, organize the bins, then at 8:30AM, put on the coffee and wait for the editor to walk in the door. If they don't have an assistant editor, my first inclination is to say "F the producers," but the second would be "bite the bullet, shrug, sit down, and get it done yourself." They also desperately need to understand that the sound quality of double-system audio is going to be better and more reliable than anything going on in the camera. Plus they have to consider the need for wild tracks, room tone, and alt tracks.
  13. A better philosophy on location if you're surrounded by background noise is to wait for a break (or the end of the scene), then take the actors as far away as possible from the noise -- like the ocean -- and record a series of wild lines, just in the hope that the sound editor might be able to use those instead of the live dialogue. On Lost, I was often impressed how the crew would get the wide shot actually in the location, but then on the close-ups, they'd pull the actors back on the beach and shoot the scene in such a way that you weren't aware they were no longer standing in the ocean, and they'd point the mics towards the actors and away from the waves. The sound was often amazingly good, given their challenges. (Overhead jet planes were also occasional issues.)
  14. That's what I'm here for! You're welcome. It's certainly "SM-like," that's for sure. The shape and the round battery knob are the giveaways.
  15. I'm watching the new HBO series Westworld (which is a terrific show, very high-budget for TV), and enjoying it very much. It's a far different show than what I was expecting, with a lot of layers and nuances and complex plot twists. It's not at all like the "robots gone wild" movies of the 1970s. In the latest episode, we found out that somebody has secretly installed "GPS" devices in some of the robots' arms, and these are radiating signals to some evil villain for nefarious purposes. They took one of the "GPS" devices out of the robots and showed a close-up of it, and imagine my surprise when I fell out of my chair laughing: It's a bit covered with robot blood and gunk, but unless I'm very much mistaken, this is a Lectrosonics SM, or maybe an older SMQV, with a fake attached antenna. Maybe as the series progresses, they'll eventually upgrade to the light-up SMV models. Or who knows, maybe a Zaxcom! Always hilarious when you see pro audio & video stuff used as "sci-fi" props in movies & TV shows...