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The Immoral Mr Teas

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About The Immoral Mr Teas

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    Hero Member

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  • Location
    UK, Europe, Asia and occasionally the States
  • Interested in Sound for Picture
    Yes
  • About
    Film Sound

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  1. The Immoral Mr Teas

    Good price on 7506 headphones!

    Really? Oh shit ... I have two pairs of 7506, and use them because they are very comfortable and perhaps 'bring problems to the fore'. But they are the most (unpleasantly) coloured sounding pro phones I know. (And the isolation is dreadful). Jez
  2. The Immoral Mr Teas

    This reminds me of my previous life, minus the Pro Tools

    I arrived London from Asia in the earlyish digital era when De Lane Lea (now WB) let go their Trident. Was trained on a DDA ... ... and "nowhere near" several Neves as the 'prentice J
  3. The Immoral Mr Teas

    "Like" button

    Jeff, does the graphic belong to 'Josef K' ? If so I might be tempted to stay away ... I used to 'LIKE(TM)' fb but in England (at least) apparently they recently "have changed" ... for better or for worse I cannot be sure. So now I don't know whether to change 'LIKE(TM)' to 'UNLIKE(SIC-TM)'. I had a recent job interview recently with Uxbridge Anal-Itchy-Arse and I had to get from Pinewood to Pimlico in a sports bag before they would consider me. FAKE-LIKE! FAKE-LIKE(TM)!
  4. The Immoral Mr Teas

    Do you really work alone on a fiction feature film?

    What Phil says, what Mike says ... You argue 'a case' and/or you make a choice. I will agree wholeheartedly that attempting to do scenes you have studied without the necessary team or support will not work - your own experience, and plenty of the rest of us. You can only (if you really: love the script, love the people, or unfortunately need the money - though I hope this isn't the case) argue what you think should be done if you are involved. Even then, it might not work. A 'producer' might be persuaded to trust your experienced judgement and what I expect to be a 'compromise solution' - but when the inevitable shit happened, if you're not the saviour, you could easily be the fall guy. Take the script, argue your points, find out how post-sound might be involved (or not) and what they expect from the producer/director - then tell them the obvious - then make the decision. Cheers, salut, Jez The obvious 'solution' of course might have been to "bring their own guy in" AND to hire you (the local) as the essential 'other half' of the sound team. Then you get the cultural exchange, the happy experience, and hopefully the "shots in the can". But even then an experienced producer knows that filmmaking is not a piece of cake.
  5. The Immoral Mr Teas

    AATON Cantar Mini VS. Sonosax SX-R4+

    Back to 'yizhye20's original post both (admittedly gorgeous) machines are seriously different (and as Constantin points out might yet not be the ideal for your current situation ...) You really need to find a dealer, rent if need be and assess on your own? Is there such a dealer (with these Euro products) in or in useful distance from Savannah Georgia? Jez
  6. The Immoral Mr Teas

    Micing an old car for effects: a Ford Model T.

    Make sure you make best of the opportunity to get recordings both inside (on board) and out, so factor for that especially if on your own. Try to find out from the end user (presumably the supervising sound editor) rather than just the job source what is or might be required, and if possible draw up a priority list. Make sure you (do your best to) cover everything on the list but don't lose your chance to get a good range of sounds or especially an interesting unexpected sound. Can you use the COS-11s directly into a preamp bypassing the lectros? If not it might be well worth bringing the idea of additional (small cost) mic rental of Sanken adapters, or DPA lavs, to the job. To make sure you're not missing a good recording opportunity. I would (at the least) grab onboards of cabin, fixed distance (ie boom or lav on stick from onboard), engine and exhaust; then cover as much externals (following and passbys) as I could. MKH50 perfect for latter. Understand that there are quite a few Model T recordings out there in libraries and from previous films, so it really is good to find out if possible from sound post what is actually needed (ie missing) and then what is preferred that you might get. If the film is shot look over the footage with the sound editor - it might be the case that the 'gold' is just a couple of shots at a particular speed that couldn't be covered by library sound. Quite often we (editors) are missing 'normal speed' stuff for a certain vehicle where we're well supplied by speedy pass-bys - etc etc. If it's not yet shot study the script and if possible have a little discussion with director, possibly editor or even DP on what is intended visually (or story) and use your judgement what is needed. Hope this helps Daniel - didn't mean to be so long winded - in fact we love in post whatever we get (so long as the shit is well recorded!) - cheers, Jez
  7. The Immoral Mr Teas

    Treatment in production

    I think (hope) most of the time we feel we are creating a piece of work and contributing whatever our talent or expertise or good taste allows us towards that. Obviously it's a job and sometimes things go well and sometimes not. I would be surprised really if things were worse in sound than picture (editing or vfx?). I'm sure it wasn't meant as such but it seems too much a loaded question. We're all (proud) technicians but also, foremost and essentially, filmmakers. If you've never had a bad gig Noel it may simply be a case of experience! I certainly wouldn't advocate going looking ... Jon's comment was important: we are an essential part of a process which in decent circumstances is recognised and understood. I've been lucky enough to have worked with people who think the same, but as I said it's nice to get the handshake, the thank you, the pat on the back, the invitation to the party and the appreciation! Cheers, Jez
  8. The Immoral Mr Teas

    Zoom F8n.

    And considering this 'remote control' feature has been asked and discussed repeatedly here, RAMPS and elsewhere (notably in the pub with my friend Dan who has advocated such a remote since as long as I can remember) I am very pleased that Zaxcom has implemented it and hope that many others do soon too - put the weight on the back/hips. Obviously also folks have introduced remote control through bluetooth etc for stealth or convenience and we can thank Zoom for spearheading here amongst others ... Jez
  9. The Immoral Mr Teas

    Treatment in production

    The best jobs are also the ones where the director, editor, producers ... thank you and shake your hand for your work and are generally happy and friendly. The worst jobs are those where the director / producer treat you like a piece of shit. The former have always been the well paid ones, the latter poorly paid ones. Although I've done some very rewarding and friendly low budget projects my observation stands. Jez
  10. The Immoral Mr Teas

    Show me your bag

    Mathias, lovely! Any harness pictures? Best, Jez
  11. The Immoral Mr Teas

    Purchasing first Nagra deck

    Well, Doug, I do a huge amount of recording just mono - it's almost the case that you decide beforehand if it needs to be mono or any other kind of stereo (two or more channels). The (appallingly little) recording I do with my Nagras would tend to be mono, since it's generally a point source sound I want to speed up or slow down. Both my Nagras (IVS, IVSJ) are stereo. Happy to have my stereo machines though - I've yet to take advantage of the third channel. Jez
  12. The Immoral Mr Teas

    Budget carbon fibre boom pole

    I recently finally picked up the Rode Micro-Pro, which I've been interested by since it came out. It's NOT telescopic, just 3 sections adding up to 2.2 metres (so you could use just 2 for a 1.5ish reach). 3/8in mic threads top and bottom on each section. It's nicely made and very light and pretty cheap (for what it is). I actually picked it up more as a stand for FX recording (tried for instance attaching a Cullmann Magnesit Copter to the base). I'm surprised no-one here though ever picked up on it as a potential problem solver extra tool - extra reach, light travel pole for simple jobs like sit downs, discrete plant pole. Although some of these uses may require some fiddling and simple modifications (it's not too happy as 'extra reach' on my short Canford pole which has a short repaired thread) I'm sure I'll come up with some nifty solutions with it. But it might actually suit you 'out of the box' for what you're describing - just be warned (and a reminder) that it's NOT TELESCOPIC ! Jez
  13. The Immoral Mr Teas

    In ear monitors for production sound

    Thanks Derek - I actually use Canford limited 7506s (despite my general grumbling that the Sonys sound #### !) for much stuff, especially dialogues (or 'prod recording') as opposed to FX. I think they don't have 'general' limiting cables - they make them under licence from a BBC design and are tailored to specific headphones (and impedances) - they are, after all, for safety, so half-hearted safety would be missing the point (which I understand). But that's what I would be looking for nevertheless - something that I know will be passing audio without degradation and will kick in at a certain voltage (if not exactly calibrated) within an impedance range ... I actually bought a simple passive attenuator cable with my ER4 set with the headphones - which I tend to keep with my laptop simple monitoring setup. Not a limiter, but a handy volume reduction. Might be be worth seeing if they do an external unit for the ER4 or other in-ear though at some point ... then work out what other phones might be in a 'safe match area' to them and what isn't safe. Canford is my 'local' btw - been driving round there for decades when I'm that part of the world. Usually put Roxy Music on the car stereo and sing alternate lyrics, "What's her name? ANFIELD PLAIN!" Cheers, Jez
  14. The Immoral Mr Teas

    In ear monitors for production sound

    I've said it a few times here (and elsewhere) over the years but I'll bring back up an instance when I was pleased to have my Etymotic ER4 set to hand - recording wild animals up close for SFX. Because they were dangling around the neck then popped in to check stuff when needed they didn't 'freak out' the animals (which I think I would have done by sticking crazy headware on and off). I realised this was the case at the time but later recording my niece singing it reminded me: kids, animals etc react to the recordist-talent relationship as much as the experienced stars do - whilst we still need to get a mic in prime position for the best recording changing one's familiar presence with both mic and headphones can be reduced with in-ear sets (and bleed is less of an obvious problem when one or both is off ear). As for Etymotics - they might take some getting used to from other headphones (especially the very coloured 7506) but they sound very good indeed and you learn to trust them pretty quickly. I've never got round to the expense of getting ear moulds made: if I was using them on a regular or specific basis I'm sure I would but one shouldn't think it's absolutely necessary to start out with moulds for in-ear. The isolation is still very high, the comfort as good as most or any over-ear: but I'm sure for regular work it's the way to go. As an aside, what I'd like to come across would be a simple external cable to level limit in ears: I tend to use level limited headphones for general location working since I like the extra safety blanket. I know that level limiting built to tailor to specific headphones and impedances (and limiters in headphone amps do the same job) but does anyone know of such a gadget? Jez
  15. The Immoral Mr Teas

    RIP Peter Firmin 1928-2018

    Possibly unknown to many outside our little islands, he - or at least his work - has been part of the childhood (and quite often the adulthood) of quite probably every UK film industry person working today ... Jez
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