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General Discussion
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4,963 topics in this forum
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- 2 replies
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Is S overmodulation acceptable on a production track (to later be removed by a de-esser in post) or is it a problem that needs to be fixed on location?
Last reply by glinton, -
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Here's our answer to those pesky planes flying over. We had some guy circling so we sent him a message!
Last reply by Ramsay, -
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Hi folks, once again we visit the perspective thing. How about listing your favorite films from the old school where perspective is king? First Blood Every Which Way but Loose
Last reply by old school, -
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I notice that in most cart pix I'm seeing that you guys are mounting your RX antennas to the cart itself. This is obviously working for you or you wouldn't do it, but I've found it useful to be able to put the antenna where I want it--usually a lot closer to the action than where my cart can be. Are you cats always on those cart-mount antennas, or do you sometimes supplement w/extra ones closer? How high do you run those cart antennas? Philip Perkins
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Just an overview from an old mixer retired for over 3 years: I don't see much about microphone preferences, techniques etc. This new mic is better at... This old mic can be used to... I don't read about anyone's mixer being better sounding than the other or less subject to overload, etc etc. Most everything is tracking, workflow, capture and logging. All this is the concern of a "Recordist" not a "Mixer." Production Mixers are department and (sound) medium heads (small department that it may be). If you let go of the responsibility of sound quality then you are less valuable and more replaceable-and paid less every year. If you record in less than the best condi…
Last reply by Noah Timan, -
I need some help, folks
by Guest tourtelot- 1 reply
- 986 views
This is kinda weird for me but I'll put it out there in the community of my peers. I have had the unfortunate luck of having three project go away this year for different reasons; it has become a VERY slow year for me and I am feeling the pressure of being unemployed for as long as I have been. Probably more than a few others have had their dry-spells but I feel a little scared at this moment. If any of you, especailly West Coasters, get an offer for a project that you can't do because you are working (or even better, taking vacation!), and if you feel comfortable, would you mind refering your producer to me for one job? I have a wonderful team; we are really good…
Last reply by Jeff Wexler, -
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Wow... at last i found a good place to ask question and upgrade myself... Kind of hard to find people from your side of the world to ask question...
Last reply by fatfatjames, -
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Hi all, I just got offered a job recording for a project being shot on 8MM. Any suggestions on the framerate to record at? Thanks! Phil
Last reply by ptalsky, -
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I have a general question for Deva IV & V users. I have done six or seven features using a DevaII with a Fostex PD-4 backup DAT, as I contemplate switching to a Deva IV, what are other people using as a backup and how. I sincerely wish to leave the DAT machines at home and backup on some other media,however I also don't really want to spend a lot of time at the end of the day burning discs other than my DVD-RAM which usually needs just a few minutes to catch up, since I start mirroring at lunch. Can the current Deva's mirror simultaneously to other hard drives? Is anybody using a DevaII to backup a DevaV and in what capacity. For me the hours are long enough, teamster…
Last reply by Philip Perkins, -
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I've been having more people ask me about IATSE membership lately. Generally in NY from most people I've spoke to it tends to be more limiting than helping since 90% of the work is non-union. While the jobs may not be as good, or as well paying they are almost always available. I decided that I would at least look into joining which here means the local 52. I asked for more information as to requirements, limits, benefits, etc. and all I got was where to send the application and how much it would cost plus that I would have to take my craft test. Is there anyone here that could provide more in depth details? I'm trying to find out frequency of work, what is involved…
Last reply by Michael P Clark, -
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A couple of great boom ops and old buddies of mine that have just signed up. Matt gave me my first job in the film biz in the late 80's as a set dresser, I didn't much like that, and Doug helped me get started in sound. We've played in bands and worked and partied together for the last 20 yrs. Welcome to Mr Wexlers forum. LL
Last reply by old school, -
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Hi there. I am about to undertake a indie action feature film. The script calls for intense gunfire scenes, were talking most of the second half of the script, with a wide veriety of wapons (handguns, rifles, shotguns, etc.) The director is also determined to use full loads for asthetic reasons. I've dealt with gunfire in the past, but never on this scale. A dynamic mic such as the RE 50 or a Sennheiser 825s would do the trick, and I made sure that whenever possible dialog was separated from live fire, or in a worst case scenario wild lines were done. What is the big budget approach to the above problem. And what are the expectations. I considered getting inexp…
Last reply by Noah Timan, -
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What do you guys usually do when shipping your gear? Should I build crates? Opinions? Thanks, Larry
Last reply by larry long, -
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Hello everyone, As you know I am the developer of Boom Recorder. I am thinking of advertise my product in a magazine. Could you tell me which magazines you are reading. I am also looking for a good general film production magazine for me to just read, as I am trying to make my own independed science fiction movie. And as it will be the first movie I will write, direct and finance I need all the help I can get. Oh, and a couple of weeks ago I had my first Boom Operating job, that thing is quite heavy after a while, and the mixer wasn't that light either. I just hope the sound is ok. Cheers, Take
Last reply by Steve Eagle, -
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How do you work on insert cars? Do you work inside the cab with the driver or do you work on the truck outside with the director and script supervisor. While I was in New York I was introduced to putting my sound cart on the back of the truck. I had for years worked in the cab, cramped and cozy, this method requires considerable setup but allows the mixer some area of quiet space. Now, with shooting schedules being so tight they want to shoot almost immediately after finishing the car work. Do other mixers just put their carts on the truck and work from the outside?
Last reply by Coleman, -
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I would really appreciate help in trying to find these guys -http://www.coffeysound.com/investigation Have any of you ever seen them before? The guy with the goatee may have had a full beard recently. Please e-mail me privately off group at jcoffey@coffeysound.com
Last reply by old school, -
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Hi All !!! Great place Jeff !!! Alan Chong
Last reply by soundtrane, -
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I've noticed lately that I've kinda reached my limit in the types of jobs I'm getting. Small Indie films (under $5mil), ENG day work (Oprah, HGTV, etc.). What I'm wondering is does anyone have suggestions on how to step up to the next level such as getting a series or even a job as a 2nd on a feature (even sound PA). I'm sure I could beg but I'm looking for a better way. I'm also finding that most of my clients have the notion that what I do now is all I do. THanx, Marque
Last reply by marque, -
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I've been reading "old schools" post on being a boom op before a mixer, and this thought came to mind. I have been doing "sound" for 15 years. Professionally for 7 years. Started out editing on real-to-real, moved into production sound after school. First job was as a boom op for a 4 day shoot, in windy locations, and holding an mkh70 all day. Almost made me NOT want to be a boom op. Next 7 years, I was doing it all, ENG, Booming, Mixing with and without boom ops. And the last 5 years I've been mixing exclusively. A local sound mixer, and good friend, asked if I'd be interested in booming for him for a small commercial. I said yes without any hesitation. When I got to the…
Last reply by Michael P Clark, -
- 17 replies
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I'm hooked on this show (it's about the dangerous conditions in the Bering Sea during crab season). Anyway, let me tell you, if you watch it, I assure you that you will never complain about working conditions again. The camera guys on that show are working in some very dangerous conditions. My question is, does anyone know what kind of mics they're using? It appears that they are just using camera-mounted shotguns, but you so rarely see the camera guys in the shot that it is hard to tell. And, generally speaking, the audio is amazingly good considering the conditions and the camera mounted mics. If I had to guess, given the conditions (very wet, rainy, cold,…
Last reply by John Blankenship, -
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Hi everybody, I was catching up with a friend of mine the other day who happens to be a manufacturer. His name is Danny McKinney and his companies are Requisite Audio & Standel. I know him from my music days. Anyhow, Danny makes great gear. Requisite has mastering quality limiters, pre-amps, and cables for sale. Danny's also been working on some moniters and he also has thoughts about boards. Standel, of course, has been around for ages (Danny bought the company) and offers amplifiers that guitarists seem to love. You can check out both companies at http://www.requisiteaudio.com/ The point of this is that while talking with Danny I asked when he…
Last reply by Sara Glaser, -
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The series I am currently working on is block shooting episodes. They would like it if I kept the shooting days in seperate folders. For example day one on episode 601 may only have two scenes and then we move to episode 602. If I only use 1.2 gb in a 4gig folder I am waisting allot of hard drive space. Has anyone tried the new variable folder software and are you having any problems with it? I am on 2.27
Last reply by Sound Intuition, -
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I'm sure Wolf is but anyone else? Which will lead me to my next pint... errr... point. Larry
Last reply by Sara Glaser, -
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Welcome to Sara Glaser. I should know these things since it is my Discussion Group, but it Sara our first woman on board here? I remember Louisa signing up but I am not really sure... in any case, welcome! - Jeff Wexler
Last reply by Sara Glaser, -
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Hi. So, I'll be interested to hear what folks have to say about this: We're loosing our RF space every day, and I guess we'll loose almost all of it by 2009 when the good old FCC makes 1125 lines of Vanna White (digital, for those of you who haven't heard my rant) mandatory. I'm currently on a show in Van Nuys. Last October we shot at this location and I was able to find decent space for all 7 of my block 27 and my 2 block 28 Lectros. Came back this past week and did a scan and, lo and behold, most of the space was GONE. I called Lectrosonics for help in coordinating the 8 frequencies I needed but found that three of the 8 were almost unusable. I've finally…
Last reply by Jeff Wexler,