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Showing results for tags 'sound'.
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Hey Guys, Thought I would share this crazy story. I was shooting a reality show for Much Music in Banff, Alberta and the director approached me the morning of with a crazy request (as per usual). He wanted to have the contestants start at the top of this hill and go tubing down to the bottom delivering lines. I thought it would be a great chance to try out my Lectro SMVs at 250mw. The talent was about 150 meters away at the top of the hill and I had to pull my 411s out of the bag to get the antennas higher up but as you can see from the picture, pretty much full RF the whole way down. Great work Lectrosonics!
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Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project needs and to get a quote. Thanks! -
I would like to get into the sound for picture business doing documentary/film/TV work and ENG work as a Sound Recordist and Boom Operator. I've been a sound engineer for 11 years in New York City mostly mixing sound for galas and corporate events. I have a bachelor's degree in recording arts and music production. I have a great set of ears and great personality. How can I get into this business? Who do I call? Where do I go? What should I look for? Where should I start?
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Hey Everybody! Let me first say that this site has been an amazing resource for me, having been doing production sound full time for about 2 years now (Started right after I finished school) I know that there are tonnes of times I thought and applied what I learned on this site, it's a really amazing place and I'm so fortunate that people are so willing to share all their insights, mistakes, and experience. Now, I am asking for your help! I am a Sound Mixer/Boom Operator, but I have also found a new interest in Directing/Producing! I have launched the Indiegogo campaign for my Second short film, entitled 'iBrain', a futuristic short film in which the latest piece of technology does fit in your hand, it fits in your brain! We are on a 30 day campaign to raise $4000 to shoot the film this coming March and it would mean a lot to me if you could watch the video, share the page, tell your friends, anything you can do! www.indiegogo.com/ibrain I am excited to do my second film as the most sound conscious Director in Canada! Thanks so much guys! (I included a screenshot, that's me on the left)
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http://youtu.be/kQ9pcqH8iG4 Thanks 5sf!
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Nov 23, 2012 - 5 hours of plane landings at San Diego International Airport, layered and composited into a 30-second video. The horror.
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http://losangeles.cr...3452849709.html "Sound mixers get a bum deal. We have to invest over $10k to get decent gear and enough of it to be able to handle the demands of what production wants. We provide a valuable service that is even more important than your picture. Your film has dialogue, people want to hear it and hear it clearly. We try to do that for you despite poor locations, poor wardrobe choices, and sometimes, ridiculous shot composition. A camera crew is exactly that, a crew. Operator, 1st AC, 2nd AC. If there's no 2nd AC then there's damn sure a 1st. Sound mixers are apparently expected to do the job of two people and get paid peanuts for it. In the LA area, the absolute minimum for our services should be $350 per 12 hour day with $100 for a kit fee. Base minimum. Any asshole with a DSLR can call themselves a DP and show up on set and get paid decently because they have a camera. A 744t recorder is nearly twice the cost of a 5d markIII and a 788 is more so. On top of that, producers want at least 2 wireless, a shotgun mic with great rejection, and comteks so they can hear and complain. We help people want to watch your movie. A film with terrible sound and a gorgeous picture is still unwatchable, a film with mediocre picture and excellent sound will be watched in its entirety (provided the story is worth it). Don't insult production sound mixers or boom operators (two separate jobs, by the way) by wanting to pay $150 for a 12 hour day, subway for lunch, and no equipment fee. $350 +$100 kit fee is minimum. If we really really like you, we might do it for less if we're bored. But don't insult us by calling it a job."
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Hi everyone... I'm currently taking a break from Production Sound Mixing and am pursuing some other opportunities so right now I have a lot of Audio Gear available for rent... I will beat any rental house pricing by 20% on similar gear. I am located in Burbank, CA so local pickup can be made or will also ship if need be. Below is a list of most of my primary gear... Feel free to ask about any smaller accessories that I may not have listed here yet probably still have. Also check out my personal website www.jonahguelzo.com for the gear list again, the kind of work I do as well as further contact info. Production Sound Mixing Equipment: Tascam HS-P82 Tascam RC-F82 Tascam DR-100 MKII 2x Timecode Buddy Wifi Master Timecode Buddy Tx 2x RED Epic/Scarlet Timecode Cables 3x Lectrosonics UCR 205D Kit Lectrosonics UCR 210D Kit K-Tek Aluminum Traveler Pole 7ft. Boompole w/ Internal Cable K-Tek Graphite Fiber 25ft. Boompole w/ Internal Cable Rode NTG-3 (shotgun mic) 2x Oktava MK-012 (small diaphragm hypercardioid mic) 2x Tram TR-50 Lavalier Microphone 2x Lectrosonics m152 Lavalier Microphone Rode Blimp System Rode PG2 (pistol grip) Rode WS6 (shotgun Mic Softie) Rycote Invision 6 (mic suspension mount) Rycote BBG w/ Windjammer (pencil mic windshield kit) Comtek IFB Kit (1x Transmitter, 1x Receiver) ATS RAM Boompole Cradle (boompole mount) Sony MDR-7506 Studio Monitor Headphones 2x Sony MDR-V6 Studio Monitor Headphones Sennheiser HD201 Studio Monitor Headphone 2x Sony MDR-G45LP Around Ear Headphones XLR Cables (3-50ft. in length) External Power Distrobution Setup with 4x NP-1 batteries and NP-1 Cups In addition to what is listed above... I also have: BeachTek DXA-SLR PRO (XLR audio adapter for DSLRs) ~ Enables one to get the highest quality audio into the widely used DSLRs... This is BeachTek's flagship model. RODE STEREOMIC PRO RODE VIDEOMIC PRO QUE Audio SNIPER Shotgun audio Kit (Que Audio's Pro "mini" shotgun mic with accessories) ------------------------------------------------------------------------------------ In addition I also have Porta Brace Harnesses/OTS Bags etc for appropriate gear as well as lots of additional accessories that I've chosen not to list. So if it's not as big of an item and not listed, feel free to ask. Call anytime and we can discuss your needs and pricing. I'm not using my gear right now so benefit by cheaper rental rates! e- jonah@jonahguelzo.com phone- 434-444-5225 Regards, -Jonah Guelzo -
Was wondering if you guys do exercise or do you eat different when you going on a job. Set crafty isn't the most healthy of foods but was wondering if anyone does aerobic or cardio stuff too, espcially for booming because it's so psychically demanding. I wear a back brace when I'm one man banding as well. Personally I try to run when I can, and doing some ab exercises. I also don't drink soda, coffee, or energy drinks on set. (sometimes I break this for those over nights, ugh) What does everyone else do?
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I was just wondering what PM's mean when posting a job and they ask for a sound reel. For location sound would that be the recorded tracks before post, or the final product? Either way, is it alright to be sending out media that technically doesn't belong to me? I usually just send out a list of credits in resume form. What does everyone else do?
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Hello! I had a question. I'm on a UCLA shoot and they have these lavs and I really like them, I've attached a picture, the wind screen doesn't come off as their cage glued them on. But the element is very small and it has a mechanism that can be put on a sennheiser g3. Any ideas as to what it is? I want to say it's a countryman but I'm not sure.
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Hello, my name is Stephen. I'm a sound guy from Chicago. I just recently moved to Los Angeles and have been looking to meet mixers and sound guys. I've been in the business for three years, have my own gear and have experience in commercials, tv, features, shorts and web videos. Would love to take about sound with people in Los Angeles area. I'm just getting my feet wet, so any suggestions or leads would be helpful, thanks so much for your time! -
Hi there! If anyone here in the Greater LA area needs a boom operator or a utility guy, my hands/skills are available for the foreseeable future. I also have my own humble mixing gear and experiences, but I'm still building towards what producers usually demand. But I want to be back on set, connecting with more experienced sound ops to learn more about our department, this profession, and the industry as a whole. As a boom operator, I'm a tall and slim guy, so getting above and out of frame is no problem. As a utility, I'm learning new ways to quickly wire, wrangle, and coordinate equipment every day. In short - if you're looking for an eager, experience-hungry sound assistant in the LA area, please drop me a line anytime. PM me or check out my website for a full list of credits, equipment, and demos. Thanks! Matt Brodnick Web: bit.ly/mbsound Resume -
Hello everyone, I was wondering if you guys wouldn't mind giving me a hand with something... I am studying an Audio Post Production module at university and I have a piece of work coming soon where I have to take five minutes of a film and re-do it all (Score, sound effects and dialogue). I have decided to do a scene from an old martial arts film. Here lies my problem though. To make it authentic I want to produce the sound effects the way they did. However, finding anything on this has proven extremely difficult. The sound effects I am trying to discover more about are: A powerful punch on bare skin A quick snap punch or kick Bone brake. Along the lines of or even Is there anyone out there that has any research or has any knowledge as to how these sounds were made back in the day? It would be a great help. Cheers, Tom
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Hi mates, I am Daniele, an Italian sound recordist and , if it is not a problem, I would ask you some advices: I would like to work abroad just to do some difference experience and to improve my knowledge seeing how other people work. Do you have any advices to give me? For me, 2 or 3 mouths of working experience will be enough. Obviously if I should stay more than 2/3 mouths abroad for job, for me is not a problem. I am ready to do cable man, boom operator in a set to learn how is this work abroad and also to improve my english. I am looking for jobs on mandy.com but nobody answered to me. In attachment you will find my C.V.. If you listen that some Sound Mixer is looking for a cable man or a boom operator, I am ready to come and start to work. I hope in a your answer. Thanks a lot bye Daniele cv_turi_daniele_eng.pdf -
Trade in your 744T or 552 towards the purchase of a 664 at Gotham! Buy back price depends on the quality and condition of the unit (as determined by a quality check by our tech staff). We are only offering this trade-in value to the first five customers for each device. First come, first serve! E-mail sales@gothamsound.com for more details. -
Hi all, I was recommended to this forum by Rippie on this post. http://www.dvxuser.c...fessional-sound I pose the same question I had to you guys. I will sure read this forum daily, but are there any more resources you can give me to get started? oops I posted this in the wrong forum, can I please get this move by moderator?
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Hello to all London Members. I trained in Sydney, Australia, and after years of working i had a great network of sound recordist friends there, with which i could bounce ideas, learn new and old technics from the recording greats, collaborate in projects and every now and then replace each other when one could not take a job. I moved to London about 5 years ago, and although i have a couple of great boom ops and plenty of work, it has been harder to recreate this sound elite network again. This forum has been great for discussion topics, but the human contact is needed for the rest. I propose we use this space to get in contact to collaborate in projects in London and the UK, help those up and coming and maybe have a few beers in the process. Anyone keen is welcome to post anything in here Best Diego Sanchez www.soundiego.co.uk
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Hey guys, Just wondering how different people charge for Post Production services? (And Also so Musical Composing services) (At home people, projects studios, studios, etc.) Anybody do a black$/min fee? A general estimated based on the amount of time you estimate it will take? Hourly work? Think it is better to separate the music and audio component on the invoice? Any input would be appreciated Thanks Guys
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This is my first post on JWS and I was hoping to get some help on a couple of out of town shoots I have coming up. The first stop is Dubai, and I was wondering what kind of luck people have had shooting in Dubai and what Blocks they have had success with. The next place is Bergen, Norway and same question. Thanks in advance for your help!
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Anybody know of any manufacturer who makes a whiteboard slate that has a 'Sound' section for the name of the sound mixer along the the Directer and Camera Op? I was thinking I would be well served by having a dumb slate with me as it is frustrating how many camera people and productions claim they don't need one (or don't own one for whatever reason), so I thought I'd get one where I could put my name on it. Or maybe a manufacture that makes them custom ordered? Suggestions?
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Got thinking about it be soundslikejustin's post: "A timecode slate, if required, is the property and responsibility of the sound dept, but is used by the camera dept. A traditional clap slate (at least on the jobs i work on) is solely the responsibility of the camera dept. " Why is this? I my mind, if there is a piece of equipment that is used constantly by the camera department, it should be the camera department's. I realize that sound is responsible for timecode, but does that mean we should have to bring the camera dept a slate to use and abuse? I worked on a Union show where A slate was a rental and B slate was the sound mixer's. The AC's would bring the slates to the mixer at the top of the day (leaving them their if he was currently busy), and then retrieve them once they were jammed. This would again happen at lunch. Later in the day we head a giant sound which was obviously a slate dropping. We look and see it's the B slate as the AC picks it up. The mixer knows what's up, but the AC has the nerve to go and ask me to bring the slate to the mixer (I'm the Sound Utility) because the slate is "acting funny", not even admitting they dropped it, let alone apologizing. I just think that for my kit and my money, for me to spend $1200 plus on something that the Camera department uses exclusively, doesn't really feel responsible for, and doesn't actually get me any more sound capabilities (Wireless, etc.) then I don't see the benifit. If production wants a TC slate, they should add it to the camera rental like they do if they wants a B or C slate when the mixer already has one. Thoughts/opinion?
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I'm directing my first feature in late Dec/early Jan, and still looking for the right person to handle sound. The ideal candidate should be Brooklyn/NYC-based and have his/her own gear. Though we're shooting on a relatively minimal budget, I've set aside a decent amount of money for sound. Send a list of your past projects w/links and an equipment list if you want to be considered for this project: derick@fstopimages.com Thanks, Derick -
Being on the verge of spending money again, I want to make sure this is the right step before parting ways with my hard earned cash. I'm a sound mixer who is relatively new to the craft (about 9 months doing location audio) and I want to invest in some pro quality wireless. One of the things that I feel is most key to being a good sound person is to have pristine audio. Now pristine is a relative idea but getting as close as possible is a good approach when you don't have the clients or money to access the top quality Zaxcom's/Lectro systems. My question is about the sound quality of a Sennheiser G3 Wireless system wired to a Sanken COS11 lavaler vs. Lectro LMa/Lectro UCR100 wired to a Sanken COS11 = ?
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Hey all, I'm curious how others are transporting and storing sound blankets. I'm a vehicleless New Yorker, with no permanent storage in a vehicle, so everything in the kit has to be on wheels, so to speak. Currently, I have 10 blankets across two big rubbermaid bins, though I'm starting to think I can reduce this number to 5 or 6. The bins end up having a pretty big footprint on the truck, and in my apartment. I was mulling over the idea of a rollercase kind of thing, the upright sort since the footprint is so small and wheels would be advantageous, but it seems a bit overkill and pricey. So, who has the gold star answer for this? Thanks, Harris K
