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General Discussion
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- 270 views
Hello all, any sage advice out there re LED walled stage acoustics? Only experience I have with them is vehicle interiors so interested to know what acoustic treatments others have used when in open set mode. Thinking baffle boards on wheels, ways to rig them between lamps / above the LED walls etc. Thank you, Chris.
Last reply by Philip Perkins, -
- 5 followers
- 132 replies
- 20.8k views
Hi, I am new to the site and the craft. I wanted to know if anyone here uses a bike as a method of transportation. I am not sure if it applies to mixers considering they have a cart, but i could be wrong. I figured boom operators and or sound utility men might have the ability.
Last reply by mono, -
- 1 follower
- 18 replies
- 672 views
Hi Folks, It's the time again where I stop through to ask... what do you want students to learn? A loaded question I know. While I specifically focus my teaching on location audio we're expanding the program to Audio Production for the Field, Post and Studio Recording. The academics have all sorts of ideas of what audio curricula "should be", but I want to know as a collective of professionals what do you want those coming after you to know? What can they learn to help you, support you and to help round out the field so that you can do your job knowing there's a legacy behind you to carry the tone? Share your thoughts, ask any questions and I'll pa…
Last reply by MRWsound, -
- 1 follower
- 5 replies
- 567 views
Hey everybody! I am currently planning to move to Los Angeles in the coming years with my American wife (currently living in Europe). I've worked as a boom-operator for eight years and would love to continue working in the US. I read that I need 100 days of non-union work before I can join the Local 695. Does anyone have any experience with coming from abroad and joining the Union? Any chance to count my years of experience from abroad? Any and all advice is appreciated!
Last reply by TVPostSound, -
- 2 followers
- 26 replies
- 1.2k views
Hello all, some evening thoughts here. This year is the 20th anniversary of my faithful SQN 4S IVe. I bought it new directly from SQN that made a special feature on my request at no charge (remote pot for ch4). As I realize I am still using it quite regularly and it had never ever failed me and I am about to buy a Sound Devices 888 that no one can tell if it will be obsolete in 5 years or not, I wonder if the era when we used to buy gear as an investment for decades is pretty much gone for good. Yet the prices are still far from affordable for professional gear. There might be still some mikes that we can trust to last and be fully top of the game in 10 yea…
Last reply by syncsound, -
- 0 replies
- 110 views
Last reply by mono, -
- 5 replies
- 1.1k views
Last reply by mono, -
- 1 follower
- 3 replies
- 303 views
Hello, For a french documentary shoot in NY we are considering renting locally rather than me bringing my kit from France. Surprisingly Gotham audio does not provide the Sound devices 8 series on rental. Any idea where I could rent a documentary kit based around an 833 in New York city? The production is french so they must get an invoice without vat (not applicable). by kit I mean something like that: 833+SL2+ 1 double rx like lectro SRc+2tx like smdb (smqv i think in the USA) or LT +dpa4060 /6060 or cos11. Schoeps mini Cmit +cinela Cosi, boom vdb L or equivalent Ktek. Shoeps cmc6+mk41+osix. A small stereo set like schoep…
Last reply by Matt Geldof, -
- 3 replies
- 349 views
I've been fortunate enough to have a couple gigs that have taken me deep into the wilderness. And I've been frustrated that I'm inevitably tethered to a film crew, which makes wildlife recording a hit or miss proposition ... I'm tethered to the priorities of camera. So, I would love to set up a recording trip on my own ... take a guide into the bush for a couple weeks and see what I can get in terms of wildlife recordings. I would love to talk with someone who has recorded wildlife professionally and see what my options are for making this pay for itself. I'm imagining libraries as a possible source, but I also imagine there aren't many libraries that need …
Last reply by ricoveskivali, -
- 2 followers
- 3 replies
- 315 views
If you have any horrible audio, I'll try to make it less horrible. Send me a link or a short .wav file. https://www.cedar-audio.com/downloads/cedartrinityenhancemanualv1.10_15dec20.pdf Regards, Ty Ford
Last reply by Philip Perkins, -
- 2 followers
- 15 replies
- 1.1k views
I'm preparing for a film with lots of emotional scenes set in the pouring rain, with sometimes characters talking under umbrellas, some other scenes in raincoats, and in some scenes the characters just getting drenched in the rain. One horrible thing in common for these raining scenes is that they're all filled with heavy and emotional dialogues. What's worse is that the protagonist is an amateurish kid, which means that ADR is the very last resort and will be almost impossible to get it right. I won't risk my Cmit-5U for the humidity, so I'm thinking of using 416 or CS-3e as my boom mic in a Rycote windshield and Remote Audio rain cover. However, the rain drops will…
Last reply by IronFilm, -
- 1 follower
- 1 reply
- 235 views
Shout out to the sound team working on Star Trek: Strange New Worlds. Alot of thought clearly went into the immersive aspects of the dialogue capture, with good boom work and lavs that sound open. Never took me out of the moment. I find myself taken out of immersion alot lately with lav-heavy scenes in other shows, this one has an old-school feel (in all the good ways).
Last reply by Derek H, -
- 2 followers
- 9 replies
- 674 views
I'm looking for suggestions about how to handle multiple, (3) actors in full body robot like costumes. They need to have full duplex coms with each other and the director. The production said do you have comteks for the actors. Yes, but do you understand that the actors own dialogue need to be iso'd (is that a word) from their comtek feed otherwise it will feed back to them and cause a distracting echo that will likely be too much for their own intelligibility. Another problem is the 2 way coms I'm familiar with like the HME systems that the camera departments use; have a large headset and boom mics which probably wouldn't work in a full body enclosed costume. Any other…
Last reply by syncsound, -
- 3 replies
- 319 views
I have two different systems for recording audio which are both run into the 3.5mm jack on my GH5 camera and I’m looking to get more recording systems. Before pouring a ton of money into additional expensive system systems, I want to make sure it makes the most sense for my application. I will be recording natural sounds in the environment and I’m not using an audio recorder for the extra cost/complexity of syncing thousands of clips. What’s the best way to compare these microphones/systems? I’m guessing rather than playing various frequency sounds which could depend on my speaker quality, I should I just put them both in the field and record what I'll a…
Last reply by brightnight, -
- 2 followers
- 7 replies
- 477 views
Pasting link to original post from equipment channel...
Last reply by BAB414, -
- 1 follower
- 5 replies
- 318 views
Hi, I need to rent urgently a compact sound cart in Tel Aviv or area (Or Haifa). The one provided here is much too big for our type of shoot. no need for control surface slider but it must be strong enough to hold dpla antennas and booms. Thanks for any input.
Last reply by Fred Salles, -
- 1 reply
- 144 views
Been following graphene since its discovery in the late aughts / early tens. With the contemporary chip shortage has anyone else been following it as well? https://www.thegraphenecouncil.org/blogpost/1501180/Graphene-News-and-Updates
Last reply by Izen Ears, -
Hello guys. So im a sound freak (Thanks to David Lynch) im trying to build a complete audio gear for my new, serious short films, im thinking to buy Zoom H8 for my field recordings. And for the dialogue, i guess i have to buy a mono shotgun audio recorder? Something like Rodeo NTG4 maybe? Can i easily attach that to my ZoomH8 without buying other extra cables or props? Do people use Zoom H8 for the dialogue aswell? But i guess a shotgun recorder would be much better? So i need to buy a shotgun microphone with ZoomH8? What kind of microphones and recording devices do pro and semi- pro filmmakers use in general? As for the props, im think…
Last reply by IronFilm, -
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- 5 replies
- 362 views
Does anyone use a third party when purchasing used stuff that is in the $1000's? I am about to purchase some gear that seems completely legit but it's not chump change. Wanted to know if there was some way to make sure that I don't get screwed by sending money for something that never comes. He is too far away for me to drive.
Last reply by Constantin, -
- 2 followers
- 8 replies
- 462 views
The first audio recordings on Mars reveal a quiet planet with occasional gusts of wind where two different speeds of sound would have a strange delayed effect on hearing, scientists said Friday. https://phys.org/news/2022-04-audio-mars-reveals.html
Last reply by AnuarYahya, -
- 2 followers
- 5 replies
- 653 views
Other than here, I have only a few other forums I frequent. One is TDPRI which is all about guitars and amps and tech stuff. And lots of old men with opinions haha! Kind of toxic for some folks but I ignore the dummies and occasionally come upon insanely awesome threads. So here is one and I want to share it here. Most of you know this stuff, but I didn't. I was always curious about how many volts a line level vs. mic was! Here is the link to the thread. I contacted the OP and was granted permission to repost this here. https://www.tdpri.com/threads/db-vu-meters-line-levels-24-bits-what-does-it-all-mean-do-i-need-to-care.1096420/ …
Last reply by Constantin, -
Sound Professors At Film Schools and The Ethics Surrounding Them (Are There Any?) 1 2
by Matt Bryant- 1 follower
- 30 replies
- 3.7k views
Hey, just saw Deadpool 2 and got the old brain juices going. Probably because of the awesome production audio tracks, idk I was wondering what peoples opions, if any, were regarding production sound professors working in academic institutions as adjunct faculty members while maintaining union membership? My NYU Professor was Chat Gunter who was very upfront about his mental problems and suggesting he might be too overwhelmed with his personal life to be a professor, however in retrospect, it seems like maybe anyone with IATSE Union membership status shouldn't be teaching in a film school given they might not have any incentive to help early career…
Last reply by Hayley, -
- 5 replies
- 680 views
I know we have quite a few musicians - or a least a few who dabble in that world- in this group and I thought y'all might enjoy this piece I worked on. I really enjoyed Ricks interviewing skills and Sting and Dom really seemed to enjoy themselves. Definitely not your typical fluff piece, Plus bonus cameo of me at the end! Microphones used: DPA 6061' (x3) DPA 4017c DPA 4097 Scheops CMIT5u
Last reply by Shane Munro, -
- 1 follower
- 0 replies
- 191 views
(Re-posted from Facebook, so you might've already seen this on the Post Sound Mixers group. But these are my words. Thanks for reading.) ----------------------- I've been following Brian's story for a while now. He's one of us, a post sound mixer, who fell on extremely hard times when childhood traumas reappeared in his life as PTSD. The guy had to sell all his equipment years ago and is now running on government programs and donations until he can get the funds, treatment, and business momentum to get back on his feet. https://www.gofundme.com/f/brianparsons?utm_campaign=p_cp+share-sh…
Last reply by Ben C, -
- 4 replies
- 426 views
Does anyone here have insight into operating wireless systems in close proximity to high power transmitters? Or any fanatical RF gurus willing to chime in about the potential risks? I am a staff audio engineer at a university, and I have become the de-facto RF coordinator. I keep track of over 100 UHF wireless systems spread across our 225 acre campus. I have been asked about the impact of potential telecommunication equipment installation (e.g. cellular antennas) on buildings. The information I have does not specify frequencies or technologies, so I have to assume "telecommunications equipment" could include traditional cellular 1GHz and up, 600-700MHz ba…
Last reply by Matthew Steel,
