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Everything posted by fezedi

  1. Maybe this is already happening for you guys, but in case it's not... If you're ever unable to go on recce, you should ask them to record videos of the location instead of photos. Some of the location's audio issues might become apparent.
  2. Wow Brendt, thanks so much for taking the time to write out such a fantastic reply!! Really well explained, I appreciate it. Faiz Z *Brent
  3. Hi guys, I'm based in Pakistan and am curious as to how one decides what Block to choose for their wireless while purchasing. I found a list of Pakistan Frequency Allocations online, but am not sure how to make sense of it. http://www.pta.gov.pk/media/Pakistan_Table_of_Frequency_Allocations.pdf What do blocks of frequencies we're entitled to come listed as in a list like this? Is it obvious which blocks are useful for Location Audio wireless in this list? Do the ones that we're not allowed to use just show up as unavailable while scanning? Thanks for any insight/info folks! Faiz Z
  4. Hi Governor I haven't shot in India, but I do live and shoot in Pakistan, which is right next door and very similar. $75/day should be enough, if it's apart from accommodation. A very good meal costs around $15-$20 here. More than $75 and you'll be really luxurying it up. Which can be nice... Who else is going with you from production? India's much safer than Pakistan, but I can't say anything about a security protocol there. It gets very very hot in this part of the world. I drink about 3 litres of water while at shoot, and still find I don't need to pee at all. It all sweats itself out. I also drink water with vitamin powder to keep energetic and alert. It's tough. Because it's so hot, people here wear cotton a lot. Which your lavs will be grateful for. You should wear shorts weather-wise, but some areas are more conservative and shorts are frowned upon. Of course it's incredibly noisy on the streets here. Crazy traffic and non-stop honking. I've travelled around quite a bit, and have never heard as much noise anywhere else in the world. Things are relaxed here. Sometimes too relaxed. Shops open very late, and stay opened till very late. Things can take a while to get done. If someone says they'll meet you at 7, it could mean 9 in real time. And yes, bottled water is a must. I'll post more as I think of things. Faiz Z
  5. Oh sorry, I should've been more clear - The dialogue won't be between the band members. The scene is that there's a concert happening in the background, and there're important conversations happening between other characters at the same time. The band is just music for the concert, though the band will be in frame at times. I guess it sort of comes done to how much of the band they want shown in the frame, and I'll choose from one of the above methods accordingly. Thanks so much for all the ideas folks!
  6. Thanks. Yeah, it's a dramatic film. Also, production has changed a lot of things now... It won't be a jam, it'll be a live concert. And it's not a band in the Western sense, it's these guys: This is good though. If the whole scene is a one-shot, and their instrument mics can be shown, and I'll probably set up another mixer for that, and record instrument ISOs onto that. But if there are any cuts in the scene, they'll still have to mime. So for that, I'll probably have them mime to a prerecorded version (they'll have earphones in). And then I'll get them to play the song live, with a click, and the camera won't roll, and I'll record that. Post will still get that 'live' sound to use, and it should sync fine. Actually, I can even have them mime if it's a one-shot, and then use the above method for that. Does that sound like a good plan? Thanks!
  7. Thanks for all the suggestions and clarity folks!
  8. Hi I'll be shooting a scene in which there will be a band jamming, and there'll also be dialogue happening between other characters in the shot. How would you go about doing this? Would you just have the band mime, and then record and add their music in post? What about drums and singing? That might be harder to mime than guitars. I'm not sure if the scene will be a one-shot or have cuts yet. I suppose if it has cuts, then playing/recording live music is out of the question. If I have to record the band live there, then how would I mic the instruments without the mics being seen? Whiplash is a film that had a lot of this. How did they do it? Thanks so much! Faiz Z
  9. All the recent talk about the Greensleeve and green screens is interesting and got me thinking. (I've never worked on a set with a green screen). My question is, if a scene is being shot green screen inside a studio, and they're showing it as a marrakech market or the middle of the ocean or something, won't the production audio still have the tone and reverb and sonic characteristic caused by the acoustics of the studio? Isn't that a giveaway? Or is that so quiet and insignificant that it will be masked by the sound effects and ambience that'll be added to the scene? Thanks!
  10. In the mountains in Pakistan. Capturing ambience with an Audio Technica BP4025, going into a SD 688
  11. Interesting piece on the salaries in Hollywood. They missed out the sound department though! http://www.businessinsider.com/hollywood-salaries-revealed-from-execs-to-extras-who-makes-what-2015-10
  12. Hi What store would you recommend to buy gear from in New York? Is there a list with the 'usual suspects' on the website, because I can't find it :/ thanks
  13. Thanks for the thoughts so far. Yeah, I agree, M/S is simple and should be routine in many cases. I'm based in Pakistan though, and no one here is trained for it, and neither are they at all interested in being, unfortunately. Regarding the weight of my technique, it'll be handheld with a pistol grip on the blimp as it's mainly for gathering FX with a little ambience in some cases, so weight won't be a HUGE issue as I won't be booming with it. If I do go down the M/S road though, would a CS-3e be okay as the Mid? I hope it's not TOO directional and leaves the S (maybe an MKH30?) sounding out of place.
  14. Is anyone here using 1 mono shotgun/hyper and 1 stereo mic housed together in 1 blimp? I'm considering placing a stereo mic like the AT BP4025 underneath a CS-3e in the same blimp to capture stereo along with mono. Seems like a simpler way to do it than M/S for times when the post guys aren't comfortable with decoding M/S. I suppose this means there'll be two (three?) cables out of the blimp (3 pin XLR for CS-3e and set of 3 pin XLRs for BP4025). I'd be recording onto 3 channels, but it seems like a handy setup for docs or to get FX with the option of a little stereo ambience with it. What do you guys reckon?
  15. Thanks senator. I suppose one mic hasn't managed to successfully replaced the other. A beautiful sign for microphones everywhere. Fez
  16. I know a lot of people here (and everywhere) love the 416 and use it extensively. However, is that because they have been using it for so long and haven't tried the 8060 (which I think Sennheiser hints as 416's newest replacement)? Or are there many people who have tried the 8060 and returned it in favour of sticking with the 416? I haven't had the chance to use either, and am debating which one to get for outdoor booming. I'm in Pakistan and it's noisey here so directionality and rejection of unwanted ambience is of prime importance. Also, I know there are other threads in which 8060 is discussed and loved, but I'm specifically interested in people who have exchanged the 8060 for a 416. Thanks
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