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Found 49 results

  1. As well as watching the American equivalent we decided to re-visit the 1990 English version. Well 4.3 picture and 16mm film is not the best but the sound is interesting!!! All done on a boom (probably a 416) with brief wide shots overlaid from close-ups. Great boom operating though with much close dialogue on the move! Gee I was using lavs a plenty since 1980 on features but I guess the style for tv was simple Oh well styles move on now lavs in ties and frocks are the current trend Interesting mike
  2. I haven't dig deep into sound yet because I learn better when I play with toys than just reading about them. Please pardon my inexperienced. I been interning under a wedding videographer and we have been talking about me becoming a dedicated sound for the wedding. How could this be done theoretically? Should I have many wireless lav plug into my mixer during the ceremony? And I think I would just walk around with a short boom for everything else. You don't have to go into the nitty gritty detail. I just want to know if this could theoretically be done.
  3. Hi guysI'm doing some research on Foley for visual media for my final university project. If you have a couple of minutes could you fill in my questionnaire? https://www.surveymonkey.co.uk/r/MNBFGPQCheersMartynhttp://www.mgreenaudio.co.uk
  4. Hello, Just to announce that the first indication on Weapon fans are a big improovement over the Epic's one. I would push production to go with the Weapon if you have this choice. The fan noise seems less a problem now. Here a encouraging Weapon user statement: Pat
  5. Hi What system do you use for wireless sound for the director. I am recording commercials with a small crew, but need to send the sound wireless to the director. I would normal use boom and one wireless mic on the actor. Would you send a mono signal or both boom and wireless mic ? I would like a small pocket system where it is possible to send a stereo signal. And a system that can run on batteries, instead of charging system. I would like to hear from yours experience. I am recording on a Sound devices 664. Thanks
  6. Hi All. I'm putting together an article for P3 Update for December's issue and the topic I've been given is Recording Audio in Extreme Weather. It's a short article, only 250 words and they are mainly looking for product placement so I have enough content to write it. But this article has me fascinated by the topic and I am interested in hearing people's stories about weather related problems they've encountered and how they were able to solve them. Most of my work has been bag work around LA so the weather's consistently nice. I have worked in extreme heat in the desert where dust has caused the most problems... and I've worked in the rain... but I would love to hear from all of you who have been able to work on shows like Deadliest Catch with cold and salt water... or from people who have worked in extreme cold conditions like the Arctic... or maybe struggled with extreme moisture and humidity in warm, tropical locations. Any stories you feel like sharing would be awesome! I would love to learn from your experiences. Some of the things I'm putting in the article so you don't think I'm just trying to have all of you write it for me... RAIN Condoms (non-lubricated!!) to protect transmitters. 'Mighty Fix It' (Rescue) Tape to wrap connections where the lav plugs into the TX... I've had sweat from bodies during a fitness video run down the back and short an SMv... Remote Audio's 'Rainman' as a way of helping keep moisture and the sound of raindrops off a boom mic Silica Packs - to absorb moisture and help keep gear dry M.T.O. Unlimited - Sound, Audio, and Slate slickers DESERT Dust is the main problem I've experienced... getting in everything. Connectors. Inside gear. Compressed air - to blow dust out of gear. Touch screens can be 'touchy' if left sitting in direct heat UNDERWATER Voice Technologies VT500WATER COLD Heating packs???
  7. New to the glory that is JW Sound

    Hello all, I recently discovered this forum and am learning new techniques/knowledge each time I log on and read. I wanted to reach out and ask for any advice anyone can lend? I'm based out of Austin, Texas and have primarily worked on shorts, several independent feature films, a couple of feature documentaries and am looking to take that next step up the metaphorical job pole that is the film industry. I'm a hard, disciplined worker who is always willing to learn new and innovative ways to capture the best audio possible. If anyone in the Austin/Central Texas area is in need of a boom operator or a sound assistant, I would greatly appreciate any and all who reach out to contact me. Thanks!
  8. My next cart thinking has to do with the above title. Saw a magnificent upright custom case cart here (will get and post an image of it in due course) here with a hinge top that I imagined might work design-wise to: Lid monitor storage Sides Protect the top shelf Light rain and sun protection Will hold a tarp from monitors and mix surface It will have to be custom, but absolutely doable. Then a sliding shelf to be made out of/on top of extant static mixer shelf so I may draw the mixer back over my knees some. Also custom work, but...I think these things will make the cart perfect and I can quit tweaking for quite some time. Snort. Jan
  9. http://soundworkscollection.com/videos/Mix-Magazine-Immersive-Sound-Conference
  10. Hey Guys! Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs: Equipment: CAMERAS: Canon 5Ds Sony FS700s SOUND: SD 664 CL6 8x Lectro UCR411a 8x Lectro UM400 8x COS11 2x Senny G3s (backup wireless) Senny MKH60 4+ Røde Mics BDS & NP1s There are 2 main setups that I was concerned about: SETUP 1: 4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car. QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I will be in one of the cars) I don't want to rely on the wireless for the primary sound. My solution: Røde mics on each 5D? I know they are not the best quality audio wise, but I don't see any way around it. SETUP 2: 4-8 people in a restaurant for a taste testing scenario. Multiple cameras. I will wire up everyone, but I also wanted to have a boom going for ambience. I won't be able to get it in the shot. ----- The production wanted all ISOs, which is fine, because I have 12 tracks to work with with the CL6. In standard reality (in all your guys experience), does post want a 2-mix primarily or ISOs? I am not the most experienced mixing on the fly, so I would prefer ISOs as well. Just wanted to know how the real people do it. This question may seem dumb, but hey, how do you keep track of 8 people simultaneously?! Keeping consitent levels without auto mix? Wires. To hide or not to hide? Not having to hide the lavs would speed up the production two-fold, and I wouldn't have to worry about clothing shenanigans. Do most reality productions care if the lav is hidden? Should I just ask if they care? Power. How long do you think I will be able to run my bag off of 1 IDX NP-L7S (14.8V/71Wh Lithium Ion)? I am powering 8 UCR411s and my SD 664. I will probably be rolling all day, and I have 4 batts to work with. Any other tips would be greatly appreciated! I have never worked with this many simultaneous tracks before so please let me know the best way to stay on top of everything. -Ryan
  11. Hi everybody, I'm about to start a documentary project in which we will be exploring a cave that has never been explored before. So far we know we will be descending at least 100 meters, but the idea is to go as far down as possible. Has any of you done this kind of job? Can you please share some advice regarding your experience recording sound in this kind of situation? (or any similar situation). Thanks a lot for your help! All the best, Andres.
  12. Hi guys! I was in a meeting about an upcoming TV series yesterday when the producer dropped in the old "oh and we'll get the presenter in a swamp and he might dive in." Having never been presented with this problem before, I thought it best to ask those who may have. Based on this conversation, I imagine I'd have to purchase a water-resistent transmitter, but how best to protect the lav when / if our guy gets submerged in muddy water? Any help would be appreciated! Cheers, Eren
  13. DC area union

    Question to all DC area sound guys here, which one is the local union for you, considering the multi-state crossing? Might get relocated to VA and want to look into the requirements to do it properly. Thanks
  14. "Sound People" Shirts - 2014

    Update: Poll is now closed, and t-shirts have been ordered. I will update everyone once they are ready to ship. Thanks! Update 3/11/14: I'm looking to finalize a tally by this Friday, March 14th. Thanks! Hi All, I'll be printing a new batch of "Sound People" shirts this month. These shirts are now all around the world, representing our herd and how although we face challenges against other depts, we always return in greater strength. Like the first round, I want to get an idea of how many to print. If you're interested in one, or a few, please fill out this quick poll: [url="http://www.facebook.com/l.php?u=http%3A%2F%2Fgoo.gl%2FL9a4lh&h=9AQGU9Ih1&enc=AZNldPhXkN5lNkDWCl7XvsmQ1drP6pcaDj7t4Ty3MTKyL-mHMkX_Ausf9ue1WsM3eUsHamWQruvF6bobYDrWxN4HaMfMe7ThmaTIfQQgTHJeoetCN0GP-nTAtp7Fra3z7uRFe8gBIj5jH0emh6x7dgro%5B/font] Thanks! - Matt
  15. FOR SALE: WIRELESS LINK

    - POST REMOVED - Sales not allowed. Please read below guidelines for use of this forum.
  16. Car engine sound for games

    Hi everyone, I am the developer of an indie Racing Game and i would be very happy to collaborate with someone that have skills or experience in recording sounds for games. Me and a friend started working on that project about 2 years ago and we do that on our free time. That is why the progress are kind of slow but we try our best to work on it little by little. Here is the link to our project : http://www.redline-e.com/ You can download the game for PC and MAC at the moment. But later we plan to make an Android and iOS version as well. I am a big car enthusiast myself, and i know how important are sounds in a car simulation. I would do my best with your recommendation to update the engine sound simulation inside my game. Right now its very simple. You can add as much sounds as you want, usually i go for 3 engine off throttle sounds and 3 engine on throttle sounds. I also usually add Idling sound. So, the samples are like : - 1000 rpm sample, - 2000 rpm sample, - 4000 rpm sample, - 6000 rpm sample. Then i up or down the picth to make the seemless transitions between samples. I guess that most racing game sound engine work kind of same way. As i have no recording equipment and also no skills and no experience to record car sounds, that is why i ask if someone would like to participate to our peoject. Waiting for any kind of feedback or help. Regards.
  17. Covered my cart, the aerials and me....
  18. 442 Mixer and Recorder

    Hey There, I have a Professional 442 Mixer and a Korg MR-1000 - 1-Bit Professional Digital Mobile Recorder for $1500 OBO. 1-bit Future-Proof Recording 40GB Internal Drive XLR/TRS Combo Inputs XLR and RCA Outputs USB Port Specs Here for the Recorder: http://www.soundonsound.com/sos/mar07/articles/korgmr.htm http://www.bhphotovideo.com/c/product/485879-REG/Korg_MR1000_MR_1000_1_Bit_Professional.html Mixer is included as well! Thanks for your time and have a great day! Nick Text or e mail 323-456-3580
  19. Hi all! If you are looking to fill any position in the sound department for any production in NYC or nearby, look no further! I'm available to work as a mixer, boom op, or third. I graduated from NYU with a degree in Music Tech, taking many classes in film production and film sound, as well as working in over 20+ student films mostly as a mixer or boom op. While at NYU, I was mentored by production sound mixer Chat Gunter. I now have a few years of experience in production sound under my belt, and before that, many more in music recording as a recording and mixing engineer. If in need of equipment rental, I own a nice kit, including Sound Devices 302 Mixer, Zaxcom Nomad 10 Mixer/Recorder, Sennheiser MKH 416 shotgun mic, pair of AKG Blueline modular microphones, and Sennheiser wireless. I have superb work ethic, which some have claimed to be second to none! Looking forward to meeting and working with you!
  20. Sound Reports and Reference Tone

    Hey guys, Just wondering which among you do sound reports manually with pen and paper or do them electronically with a laptop, iOS device, etc. (or who doesn't do them at all? I.E. OMB? Reality Shows? etc.) Also wondering how often you put a reference tone file (-20dBFS) in the daily folder for post? Is this still needed usually? Thanks Guys!
  21. Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project and get a quote. Thanks!
  22. Hi everyone, My name is Pat Kiloran. I recently, in August of 2012, moved out to LA to pursue a career in audio after being a musician for several years and attending audio school in London, Ontario. I wasn't sure whether I would go into music production or sound for picture more heavily, but as it turns out, I ended up pursuing (and really enjoying!) sound for picture. Most of my initial work consisted of low-budget films, shorts, and other small narrative-based productions. As time has went on, I have really gotten into and started enjoying more ENG type work and doc/reality/corporate-style work. But I love being involved in the sound-team of any genre of production. I also do some post-production and music engineering when I get a chance. Anyway, I am still admittedly very green in this industry and have absolute loads to learn. So, I just wanted to take the chance to introduce myself on this site (which has been really helpful and educational). Thanks for reading, and hopefully I'll run into some of you soon! Pat K
  23. 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!
  24. 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!
  25. 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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