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rcoronado

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About rcoronado

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  • Birthday 01/01/1

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  1. My .02 - I deleted facebook years ago and have reaped great personal rewards from that decision despite the fact that I clearly do miss out on some useful conversations that go on in that forum. While I broadly agree with the sentiment that facebook is at a minimum negligent with its use of data and is malicious in its collection of it, I recognize that this argument isn't salient to manufacturers as they seek to engage with users and potential customers. So, to the manufacturers I'd argue that you still reap greater rewards by being your own platform because you cede control of a lot of very important aspects of your brand and interactions when you outsource those interactions to ANY third party (inclusive of this site). Specifically, you cede control of the url, the look, the other things on the page simultaneously, the presence and content of competitive advertising, and the user data and info itself. Given how easy and inexpensive it is to build a robust forum and chat interface into any site, thats a LOT to be giving up. This isn't to say you shouldn't or couldn't have a presence on third party platforms, but rather to say that this presence should generally be geared towards directing users and potential customers to the web interactions that your company designs and controls. If a user hits you up on facebook or twitter with a support question, IMO you should immediately be replying with a link that pulls them OFF of that platform and into your own ecosystem. Sure this takes more resources, but in the context of tracking and responding to things on social media as the alternative, its not that much more. for a good case study in this approach, check out asoundeffect.com. Asbjoern really does a good job of building a running a pretty big platform with a clear vision and a toolbox of off the shelf software tools.
  2. care to elaborate?
  3. seems like that would take some degree of machine - learning to get it actually happening. IOW, the algorithm would have to be able to identify on-mic vs incidental by some combination of loudness, reverberation and frequency content, but it would clearly not be as simple as just setting thresholds because it would require context to discern what's what. I know iZotope has some machine learning programmed into their dialogue isolate and de-rustle modules these days. Seems like it could eventually be do-able, but it also seems like technologically its a pretty tough nut to crack.
  4. Hey Mike, i'd love to hear some specific feedback about the tech and challenges you face that I can send back in their direction. I'm of the opinion that we don't get to have enough cross-discipline conversations, and we'd all benefit from knowing more about what's happening both upstream and downstream in the production process.
  5. Hi all, We recently recorded a dialogue editing episode of our podcast, tonebenders, with some pretty big names in the biz. We talk a bit about what these editors wish the production sound folks knew about their workflows, and got into the weeds with what happens with your tracks once they come to the edit room. I figured that would be of interest here. tonebenders ep 75 thanks! -Rene
  6. rcoronado

    96kHz -- Pros and Cons?

    I've heard of a few voicover projects where 96k was specified specifically because the plan was to do sound design style processing and pitch shifting to several of the characters as a whole. That seems like the only reason to run 96k on set as well.
  7. rcoronado

    Narcos

    i lold.
  8. rcoronado

    VR production (sound), new like old?

    dude, that's pretty impressive! how did you go about implementation in the mix?
  9. rcoronado

    Waiting on Sound Webseries

    man, i've been there.
  10. rcoronado

    3d printing wind protection

    @RadoStefanov its the fact that you edited the post above that makes it so great.
  11. So, has 3d printing come to the point yet where we can design and create entire shock mounted and wind protection rigs with various multi mic configurations? I saw a thread a while back that had a person custom 3D printing various mic clips, and it seems like the next step would be to modify the designs that Rycote and Cinela put out to adapt to some more esoteric or compact designs that incorporate both wind protection AND shockmounting. I'm thinking of things like ORTF mounts for longer mics that have shock mounting built in and enough room for cables to attach internallyquad rigsrigs with attachment ports for TWO mic stands that can support heavier micscollapsible rigs (rigs that fold down flat and then pop back out into boxes or other shapes)rycote ball gag competitorsdual MS rigsetc. The tricky part for all of that stuff tends to be the physical construction of the cage. Once that's designed and produced, its just a matter of wrapping it in an appropriate fabric and implementing the rubber bands for the shock mount. Seems doable. right?
  12. rcoronado

    rollercoaster sfx recording in 1 week

    so the shoot was yesterday and it was super challenging, but also great fun. The hero mics of the day ended up being my crown PZMs - simple to mount, and the hemispherical pattern really allowed them to capture my screamer's voices super cleanly. On the ground the Schoeps dual omni rig and the 416 handheld shone through as well. park safety was there with me checking everything over before any of the rides went out. Zip ties and gaffer tape for the win. I'll do a podcast about it in the near future. Thanks all for the advice and encouragement!
  13. rcoronado

    rollercoaster sfx recording in 1 week

    scout session completed. Lots of challenges, and my equipment list is definitely refined as a result. Onboard are going to have to be easy to mount and super low pro because of the limited availability of mount points and the intense G forces in play. Plan is now to go with a pair of crown PZMs for screamers, some Sunken CUBs for track friction, and maybe one MKH50 for meat and definition. Also, these things are LOUD so I'm going to have to really be careful with levels and shock mounting. Its going to be a huge challenge, but it should be fun!
  14. rcoronado

    rollercoaster sfx recording in 1 week

    I've had the same experience regarding surround. Also, in the time since this post has gone up the nature of the project has changed and become more limited - now I'm creating a library to be used exclusively for productions related to this park. That means it doesn't go in my library and it doesn't go up for sale. I just need to package up some good sounds and hand them to the video editor. Bummer for me, but still an interesting challenge.
  15. I've developed a visual analogy for almost all audio related things over the years. Really helps certain people understand things. an example - I was doing post on a production that had lavs in it that were low on batteries and getting super hissy. I struck an ok balance between cleanup and not making it worse with artifacts, but the source audio was pretty busted and the end result was imperfect. Client (who was also the picture editor) asked me if there was anything more I could do to clean them up. I explain that my situation is a lot like when you capture an image through a smudged dirty lens. Sure, there are things you can do to help, but after a certain point you only making things different, and not really better. The problem is that the source image was never captured pristinely, and you can't create it from nothing. The client was super happy with that explanation since I spoke in his laguage, and we moved on from there. -- Anther little rule of thumb is that if people aren't listening on cans but they hear something extraneous and ask if I heard it, I just about always say "if you can hear it, my mics can too" this is easy to understand for people and tends to strike an okay balance on what to let go and what to re-do. -- The other little part of diplomacy is to never be negative, and never assign blame. Its not "You changed the lighting and ruined my boom placement", its "the lighting moved and forced a boom placement change" I've even noticed in VO sessions, I'll include myself in an actor's mishaps. An actor will substitute an incorrect word on a script, and after the take on the talkback I'll say something to the effect of "cool, lets do it again because we said 'he' instead of 'she'" obviously without emphasizing the word "we" but still using that word. It just helps me avoid saying something to the effect of "you fucked up, now we have to do it again." It doesn't hang that baggage on the actor and allows the next take to proceed unimpeded.
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