Jay Rose

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About Jay Rose

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    Hero Member

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  • Location
    Boston US
  • Interested in Sound for Picture
    Yes
  • About
    Sound designer and industry author. Member CAS and AES. Humor, articles, and studio info at www.dplay.com.
  1. I've posted mumblecore that was well recorded and needed very little repair (usually by editing from alts). The style/genre was the director's decision. The crafts (including acting) were still allowed to do their/our job.
  2. Does it have to be that gear? Can you access the speed control on the modded TCD? Can you play on any other cassette deck with a varispeed hack -- or dub to 1/4" to play on a deck with varispeed? Then you can resolve with a scope and a wall transformer.
  3. Beachtek makes a box specifically for the Alexa. Is that one too complicated for your client?
  4. For the future: bury it in boiler plate in your "standard" production agreement, deal memo, session completion form, deliverables spec, or whatever else you get them to agree to. If it's in smaller type and looks like it's part of stuff your lawyer made you put in or you copied from the internet, people won't question it. That being said, you'll have a hard time collecting anyway. I've always found that an interest charge (coupled with a discount for very prompt payment) just helps make sure I get paid quickly. But if it's a client I've got a good relationship with, and they occasionally go to 60 or longer, I'm not going to make a fuss. The other thing that can help is a 'boilerplate' disclaimer about ownership in your contribution remaining yours until the agreed amount is paid. That can help a lot, with recalcitrant payers, when you let them know that you'll have to advise their client that there's a copyright issue. (They'll never call you again, but you were ready to drop them anyway, no?)
  5. IIRC (my studio is temporarily down), RX5 gives you a lot more automatic, learning, and self-configuring options. So depending on which UI you're using, it could very well be that RX5 has better processing... even if the underlying algorithms are similar.
  6. FWIW, RX also does automatic round-trips in Nuendo. I love that I can use the same RX algorithms as a clip-based VST process, on a channel insert, and with the Connect passing to the full-on app. You can apply as much or as little tweaking as you think an element requires. Flexibility is a good thing.
  7. A group at MIT has come up with a way to generate very real-looking motion videos, with people and objects doing what they'd normally do, based on a single still photo of the scene! Article at http://web.mit.edu/vondrick/tinyvideo/ has before-and-after shots, along with a discussion of the algorithm and machine learning involved. The process is in its infancy and generating only short, small-format clips. But we've all seen how quickly these things can be developed, once you throw money and programmers at them. For those who say, "well, what about the story? We'll always need to have writers and actors and directors..." I respond - not really tongue-in-cheek - what about reality tv? There's a heck of a lot of programming being developed where the story is tacked on in post. And there's a lot of money to be made when this process is developed well enough to fill cable tv slots. Not to mention all its other implications...
  8. Unfortunately, my beat up Polaroid snapshot was digitized a long time ago. When I digitized it, 8 bit 22 kHz was considered hi res for audio... and I was probably behind the curve for pix. (2" lowband... wow!) OTOH, you can open just the forum image in another tab, and have your browser bump it up 400%. Still holds together well enough to identify the pots and pans.
  9. Anybody want to take a shot at naming everything in this picture?
  10. Little known fact: Mel Blanc actually looped the lion. It was the industry's first post-sync job, made more fascinating since it occurred pre- sync being invented. ; ) (Actually, I wouldn't be surprised if the mic and mixer were because they made an ET of the roar for use in their radio promotional shows. Radio tie-ins were a very big part of the Hollywood Machine in the 20s.) (For you post-Digital folks: "ET" refers to electrical transcription, radio-talk for cutting an acetate disc to record an audio event or delay a show. Pre-magnetic tape, though they were still using that term on the logs at my first station gig.)
  11. ExtraPFX
  12. There are even times when aliasing can be a useful part of sound design. I used to keep a copy of SoundEdit16 (on an ancient System 7 Mac that could run it). It was too early and underpowered to use oversampling, and they didn't bother to do additional filtering when lowering the s/r or varispeeding. But when you wanted harsh, non-musical upper octaves on a monster or weird machine, it was great. (On the other hand, it was at the same time that I discovered the Nubus Digi card that came with early ProTools and Avid didn't change its filters when recording at lower sample rates. If you were doing a multimedia project that required lots of 22k s/r voice files, you had to record at 44.1 and convert. If you recorded at 22.050 s/r, the ADC's input filter was still at 19k and even normal voices would alias.)
  13. You're asking in the wrong forum. This is a gathering place for people who got into sound because they appreciate it, can hear the difference between a clean track and one that says 'amateur production', and have spent the time [and made the mistakes] to learn how to do it right. From the choices you've made, it seems like you're much more concerned with picture. That's not intended as an insult. But to get the answers you want based on the assumptions you've made, you'd be better off asking in a camera forum. [Before other forum members accuse me of trolling... think about it. The OP wants what he'd consider usable sound for what we'd consider an impossible budget, using what we'd consider untrained operators. It's possible his definition of 'usable' sound is a lot less than anything we'd ever accept... and a bunch of DPs or shooter/editor/producers might be able to understand his goal better.]
  14. That was an incredibly cool box for very remote recording. As I recall, it included a soldering iron in its case, so you could make field repairs.
  15. Somebody in theTrump Tower either started thinking about what the debate mic issue really was... or maybe the Donald himself reads JWSound: “It wasn’t that the mike didn’t work,” Mr. Trump said, during comments about the difficulties he had faced during the debate. The problem, he said, was that the people operating the soundboard had been “oscillating” as he spoke, changing the levels of his voice. -- NY Times, http://nyti.ms/2dDJ92X This actually is consistent with what we've been saying here, particularly if an automixer was involved (how would the device try to cope with all his loud interruptions, and how quickly could it react so there wouldn't be roller-coaster levels during Trump's lines following the interruption?)... ...and it even partially explains the 'sniffles', much more logically than blaming a defective mic.