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Found 3 results

  1. Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas on how best to achieve this sound? I wonder how do the big guys do it? It's a single shot to the head, execution style. I was planning to have a startled flock of birds fly off afterwards! I do have a DPA 5100 and could record the sfx myself, if need be. But I'd need to travel to the mountains to do it and find myself a luger since this guy is a WWII buff and would only want an authentic sound. Just hoping I can create something digitally. War is hell but editing the SFX is pretty friggin' fun! Thanks in advance! John
  2. Hey guys, I'm being contracted out to record some amusement park rides on Nov 3rd, and its a pretty big opportunity for me. We're going to have the run of the park before it opens for business, the park engineers will be there the day before to setup and safety test, and the day of to run the rides and facilitate. The park big wigs will be there watching it all happen. Screamers will be employed on the rides for the day as well. Recordists will include myself and an A2. Rides covered will include wood and metal rollercoasters, drop rides, and anything else we deem worthy. There will be a location scout on Thursday the 29th where we eval and lock down the specific rides that will be wired and recorded. End goal is to develop a complete sfx library for the park to use in promotional materials. Shots used in the promos include mounted onboards of the rides with two shots of riders screaming/having fun, overheads, bys, etc. ---- My plan for the scout is to bring a PCM M10 and ride a couple of the ones we're pretty sure that we are going to cover, and check for mount points and wind drafting positions. Initially, I think that my mount points and strategies will be similar to what I did when I recorded a set of Porsches on a track earlier this year. This broadly means that I'll put an MS rig in the front car in a wind-drafted position to capture the screamers, and then mount a pair of MKH50s on the "rear bumper" area aimed at the track for friction. I'll also add some contact mics for the floor because I can. On the ground I plan on having two rigs: one is a pair of schoeps with omni caps mounted in a single blimp as I did here The second rig would be a pair of MKH60s a few feet apart aimed about 110 degrees out to capture any long straightaways, and maybe a Line audio CM3 in the middle to cover that gap. This rig was excellent in my porsche recordings, but I had the MS rig in the middle of it in that setup which helped with the coverage. --- I'm also going to attempt to run wireless headphones down from the coaster while its in flight using a lectro rig, but I don't know if it will throw well enough, or what the RF situation on the rides themselves will be, so I won't make any promises to anyone about that. Thoughts?
  3. Lots of stuff on sale for Easter at Hooray! Here’s The Big Easter Sale at A Sound Effect: | A Sound Effect my stuff included. Forget chocolate, gorge on great sounds instead. Happy (whatever is your) Spring Festival! John