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I work on a stage shooting hosts all day. We've had the stage for a long time, and it's been an acoustic Nightmare for a long time. Our set is a one to one recreation of John Lautner's "Chemosphere" house, which is up the hill across the 101 from the Universal tower. Willie Burton might remember it from Charlie's Angels, where Drew Barrymore got shot out of the window. The house essentially looks like a UFO crashed into the side of the hill, and our set is 1/2 of the disk. The open end faces our electric room, which is on the stage and has an open ceiling to allow the hot electric dimmer packs to vent. The issues are that the dimmer packs have loud fans, and the set is li…
Last reply by Philip Perkins, -
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I found this to be a very interesting endeavor, sponsored by the Motion Picture Editors Guild with active participation by a company that is in the business of setting up editing rooms and renting editing equipment. from the MPEG announcement: Atomic Film Company, Inc. is proud to announce the first ERGONOMIC ELECTRONIC EDITING BENCH Designed By and For Members of Local 700 Purpose: To design an Avid bench which balances ergonomic concerns with aesthetics, which is flexible enough to be used by editors, assistants and digitizers, and which respects the cost of fabrication. Requirements: 1.) The bench should be no larger than a 4’ x 8’ sheet of plywood…
Last reply by curleysound, -
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I'd love to find a resource that discusses timecode in depth so that I can get a thorough understanding of the subject and not have to rely on someone else to tell me why a certain framerate is used when. Does such a thing exist? Timecode for Idiots? A.
Last reply by Charlie Parra, -
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Eric Toline Posted this on RAMPS it might work "Look for the GPS stickers. Hopefully I get the link correct: www.gun-safe-magnets.com/arrest/stickers.html"
Last reply by Philip Perkins, -
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Hello to everyone! I just wanted to say "Hi" to everyone on the list and briefly introduce myself. A recording enthusiast for over 10 years in music recording I have in the last 3 years worked as a production sound mixer/boom op in Toronto, Canada, mostly on Canadian indie dramas. I work mainly as a mixer on basically everything I can, including corporate, commercial, documentary, features and indie shorts. Most of my work is non Union, but I also have permittee status with IATSE local 873 and NABET 700 CEP as a boom operator. Thanks to Jeff Wexler for putting up this site, which seem to be a nice alternative to RAMPS! Cheers, Tim Lue www.trlproductions.com
Last reply by Jeff Wexler, -
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Hi, Is there any sound mixer from Norway or Sweden around? I need some info. Contact me off line asap, please: fdi at ran dot es Many thanks, Fernando
Last reply by Fernando, -
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After working on video shoots for about 10,000 years, I am suddenly constantly running up against former film assistant camerapeople now working on HD video shoots. Lately I have been working with ACs who are decidely non-collegial about anything having to do with the camera, which they believe they "own". Except that I am required to treat the camera as my sound recorder. Many of these ACs now attempt to insert themselves between me and my connections to the camera--as in I come up with my snake and they put their hand out. Dude--I 've been hooking myself up to video camcorders for a lot longer than you, and by the way these are MY cables not yours. Many ACs resent …
Last reply by Philip Perkins, -
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Anyone know what the camera and sound setup used on this show is. The episode I just saw drops the host carrying a knife, flint, and water bottle along with a small crew right into the middle of a swamp and lets them find there way back to civilization. Like the Deadliest Catch it looks pretty demanding. We get to see what the host does for getting by but what about the crew? Looks like a lot of fun. Pete Lee was the mixer on the episode I watched.
Last reply by Sergio Sanmiguel, -
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- 11 replies
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Since the competitive bid thread went here... I drew up this contract based off Noah's - fits on one page, which they like. Thoughts? Equipment_Rental_Agreement.doc
Last reply by FSBELLA, -
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Hello, I have recently come across several projects that had a theatre play in it (big theatre, sound reinforcement is assumed). Just wanted to know from those of you who have live theatre sound experiance, and whoever else wishes to share what the most common default hardwire microphone setup was. I've seen all sorts of things long and short shotguns from above, from below (just off the front of the stage), PZM's (bad idea), etc. thanx, Bartek
Last reply by Andrew Bellware, -
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Hello out there!... I was wondering if anyone has had any problem with these batteries (iPower rechargeable 9V lithium ion batteries). We've just started using them on a TV series and though I love the idea, our comtek recievers are not always switching on with a fully charged 9V. Today one of our Lectrosonics 'Spuds' (wireless boom transmitter) wouldn't power up either... Throwing in a Procell would always remedy the situation... Bad batch, or is there some arcane power fart going on? I've had similar skittish behavior with non-rechargeable lithium double A batteries in TS 3 slates as well as my alarm clock at home. Not so with regular alkalines... Am I on glue? Thx…
Last reply by Michael P Clark, -
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I am trying out the Bluebottle.com online email system just to see how well it works. Using it now only on one of my less used email accounts. For those who don't know about Bluebottle (and there are other services that do the same) works on a challenge - response procedure. This method definitiely works, no two ways about it, but it does put up an obstacle (isn't that the point) to all those who wish to send you email, including those from whom you wish to receive the email. When you send an email to any of the protected addresses, the system sends out a verification notice to the sender's email where they need to verify themselves (via a link through your web browser) a…
Last reply by Jeff Wexler, -
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All, I have booked what promises to be a pretty remarkable documentary shoot six months from now, which will involve 10 weeks or more in the Amazon Jungle, specifically on a boat on the Amazon River. We're shooting a guy who is going to swim the entire thing. Besides the questions that immediately arise, like "What if the guy gets eaten?" I am pressed with a bunch of questions concerning jungle work. I have the whole international travel part covered, but anyone who has shot in the Amazon, I'd love to hear some of your stories, and/or problems that arise, and how you tackled them? I have worked in many environments, hot, cold, humid, dry, but never a rainforest. I'm t…
Last reply by gpiegari, -
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- 35 replies
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This is one area where I still find myself taking a bit of a regular kicking on occasions, you know the one, Takes 1 to 6 ok for sound, but still no good for camera or actors or DP, Take 7, excellent all round apart from the wind damage that killed the take for you. Over the last 20 years I have tried many methods of protecting lav mics from wind, Its always a trade off between size and protection, so the purpose of this post is to promote the sharing of our ideas to achieve the best use wind cover on lavs. Regards Brian
Last reply by JDirckze, -
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First post. Glad to be a part of this forum! I got some not very good news the other day and wanted to find out if anyone else was going through the same thing and what their feelings were. I am starting a single camera series on the Radford lot and was told last week that for all new television shows on the lot this year CBS Radford would be supplying the sound package. I have heard in the past that they supplied audio for the multi-camera shows but this is the first time they are doing it for single camera. With Warner Bros. being the last of the studios to do this, it is sad that we have taken a step back. I, like most of us have spent the last several years build…
Last reply by FSBELLA, -
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What are we gonna do when these start going off during a take? http://www.popgadget.net/2007/06/puchipuchi.php
Last reply by Daniel McIntosh, -
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Hey there, gang. I recently threw together my own (highly subjective) 10 Commandments of Sound for Picture on my blog, syncsoundcinema.com. Since the point of the blog is to be a resource for indie filmmakers and audio newbies, I'd appreciate any comments and/or constructive criticism from some of the more experienced folks out there. The list is split into two parts. Part One: http://www.syncsoundcinema.com/2007/06/fifteen-drops-tabletten-ten.html Part Two: http://www.syncsoundcinema.com/2007/06/fifteen-drops-tabletten-ten_24.html You can either leave a comment on the blog entries themselves, or drop me a line at syncsound@gmail.com, if you're interested…
Last reply by syncsound, -
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WHO NOWS THE SUPPLY OF A SOUNDCRAFT GP 1 CAN I USE STANDARD PSC 12 V OR DO I NEED 28 V THANKS
Last reply by funkybiker, -
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I was hoping that perhaps more mixers, especially the more influential ones, can start to call their Utility Sound Person the "Second Boom Operator", when appropriate. It's something I've begun to notice popping up more and more in the credits, and Willie Burton thanked his Boom Operator and Second Boom Operator in his back room interview at the Oscars. I plan to ask that my third get that credit on future projects. The reason for this is two-fold... Typically, especially on television, with there rarely being one camera at a time and with many shows having large ensemble casts, the utility person is required to be a skilled boom operator. And also, with larger c…
Last reply by Alien, -
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Got an interesting call today. A show I did with 4 Sony SDX900 HD cameras is using the camera sound (naturally) and called me because they had tone on one of the cameras, and needed to put the "backup" audio into the mix. Since the cameras were rolling 23.97, the post sup, and DIT both signed off on doing 29.97 for the hard disk recording. Now they're complaining that it won't sync. Any thoughts on how to correct this without saying "You're using the wrong audio in the first place" ? Thanks, Tom
Last reply by Charlie Parra, -
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I know most of the posters on this site are Cali folks, but has anyone here done any filming at the United Nations in the past couple years? I have a shoot coming up on wednesday, but I am completely unfamiliar with what conditions I am going to have to handle. For example, is it going to be an RF nightmare? Is there a house PA system that I can plug a spare recorder into? The filming is for a doc and my understanding is that they are going to rolling both video and film. I will definitely leave any scissors and cutting utensils at home, no point in loosing a leather-man at the door. My producer told me that it is very unlikely we can get much of a walk-thru..…
Last reply by greg sextro, -
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Just finished a shoot where the talent was doing some really crazy stunt and of course was wearing one of my UM400 beltpack with a Lav. Right after the shoot, the production assistant comes to me with a list of paper that i have to sign for insurance purpose. They were stating that i was entirely responsible for my equipment and all accident including crazy stunts. Plus it was stating that this was valid for a full year. I didn't sign. I waned to know what is the general rule on this. I would believe that if something gets broken on a shot, production is responsible for repairing or replacing the item.... Should i prepare a paper to get signed by production before …
Last reply by David Waelder, -
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Is there anyone amongst our members here who would be able to help me in putting together a high end video editing system for son. I jave put together many systems in the past but I am not totally up on some of the latest products. I am very clear on the host computer which will be a Mac Pro (as full blown as we can afford and will be using Final Cut Pro Studio 2) but not so clear on some of the other necessary components. Important items in the class of things like the recently mentioned MOTU video interface (not shipping yet) which compares favorably to the Aja io/HD (also not shipping yet). Contact me directly if you really know this stuff. Source material, at this p…
Last reply by Marc Wielage, -
- 27 replies
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Yeah yeah I know, here we go again... I bring curtains but the DP's don't want them in the way of the action. I use lavs and a Schoeps CMIT5 simultaneously, which is about the best shotgun to suck out the room, yet still the verb is there. It's workable (I'll take it down with some downward expansion), but again still not quite "dry". <sigh> Anybody have any other ideas on how to tame the green tub?
Last reply by David Waelder, -
- 30 replies
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Hello, I was just looking at Oleg's pictures and the fact that the boom op had no headphones jolted my memory. About two years ago I boomed on a film where the mixer asked me not to wear headphones. We were doing dialog scenes, and whille I always respect and value the approach of the sound mixers I work for, I couldint help to think that this was a strange way of doing it. As a mixer I always have my boom ops "on the air" not only for the fact that they can critticly judge their work but also for communication reasons. Also I have ran into the no boom op headphone issue whille going through the behind the scenes of various films. I was just wondering how people out…
Last reply by Doug Brandon,
