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About dfisk

  • Rank
    Supreme ruler of Space, Time, and Dimension
  • Birthday January 25

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  • Location
    United States
  • Interested in Sound for Picture
  • About
    Audio Product Specialist at DVeStore. Previous experience in video game sound design, television sound design, and feature film sound design. Former product specialist at Coffey Sound. Expert knowledge of microphones, recorders, and workflow.
  1. Here's a short excerpt where Mike talks about working on Good Eats:
  2. Michael P. Clark is a production sound mixer based out of Atlanta, and is currently mixing The Walking Dead. He's also done season two of Stranger Things, Good Eats (one of my personal favorite shows), Feasting on Asphalt (another personal fav), and many others. Here's the full video where we talk about working on these shows and other things. Thanks, Mike, for taking the time out of your weekend to do this with me. I really appreciate it!
  3. Here's a short preview of a video chat I did with Michael P. Clark, who mixes The Walking Dead, Stranger Things, and has done other shows such as Good Eats and Feasting on Asphalt. The longer video that this is from will be available soon.
  4. It's weird...at around the 5:35 mark when the guy is showing the inside of the thing, and you see all this stuff moving, and you hear his voice, but you don't hear anything from inside the room. I would have expected to hear all this wooden gears and noise coming out from there.
  5. I made a video about using timecode with the MixPres. Hopefully this clears up any confusion.
  6. When I first moved to LA in 2001 I was an intern at Dantracks. At the time we were working on 13 Ghosts, The Matrix Reloaded, and a bunch of other stuff. I just looked at their website and they haven't really updated in a long time, but it's worth reaching out to them. I know at the time they prided themselves on their internship program. I got to see and do a lot of stuff that was really cool. My very first day I was on a Foley stage watching John Roesch (amazing Foley artist) do Foley on 13 Ghosts. www.danetracks.com
  7. Here's Jan talking about her start in production sound. I found this very interesting.
  8. Here's a short clip from the full video about her time on The Sopranos:
  9. For size, it's hard to beat the MixPre-3.
  10. I'm starting a new video chat series with audio professionals, and this is my first one. Thanks to Jan McLaughlin for taking the time out of her busy day to sit down with me via video chat.
  11. The very first time I saw the Deva IV/V I was working at Coffey, but it was the first NAB where Zaxcom was showing them, and because at the time we were the only dealers west of the Mississippi that carried Zaxcom, I was helping to work their booth. I literally showed up the morning of the first day, got about a 10 minute demo on the devas from Howy, and then I turned around and was demoing it to others right away. It's super easy to use, there's just a lot to it. As a matter of fact, I don't think I ever read the manual for it.
  12. I'm glad Mirror remembers this, because it's been over a decade since I've had to do it, or rattle off how to do it from memory. If I had a Deva V in front of me I'm sure it'd all come back to me, though.
  13. If you want to easily change a cable on a K-Tek pole then get the Stage Poles. They have a removable head piece so you can drop whatever cable you want down in there. Super fast and easy. That being said, I'm not a fan of doing this if I want to switch between mono and stereo recording. I'd just have a pole with a mono cable and another with a stereo cable...and then maybe one without cable. This is how I used to work when I was doing a bunch of sound effects recording. The type of job dictated what kind of pole and cabling I'd need.
  14. Here's a video on advanced USB interface functionality:
  15. It's worth getting that Firewire fixed, even though it's Firewire 400. That's what I ended up using to turn in files at the end of the day. I was doing mocap dialogue for video games, and when I said I was going to turn in dvd-ram disks they looked at me like I had two heads. I said I could also transfer to a firewire drive, and they liked that. I mirrored to that all day, and only had to wait a minute or two after the last take for the Deva to finish. There was wifi right there on the MoCap stage, so I just plugged the firewire drive into my computer and uploaded the files directly to the client. Before I left the files were in 3 places; the Deva, my external firewire hard drive, and the client's server.