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Billy W

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    Award winning audio post producer, production sound mixer, and filmmaker based out of Boston, MA.
  • Interested in Sound for Picture

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  1. Hey Simon, any update on whether Wisycom MCR41-42 slot-in receivers fit your dashboard?
  2. Client is a major airline and I believe getting permission to use wireless isn't an issue. I will have to be stealthy to not make passengers nervous. Good call on the ZFR300. This or something like it would be a great.
  3. I have a potential upcoming job that would require recording sound on a a commercial airliner while it's in flight. Thoughts that come to mind: - Lav's will be the only reliable source of audio - Perhaps the AC, air blowing systems can be shut down or minimized for sound purposes while in flight. - Film at cruising altitude for reduced noise - Talent will need to talk very loudly - I'm wondering if wireless is an issue while flying - Overdubs may be required Does anyone have any experience recording in this sort of atmosphere? Any ideas how to deal with the crazy amount of noise on an airplane?
  4. Thanks for the advice everyone. Boston isn't a huge market and I've mostly encountered many many small shoots and student films from small production companies that all seem to have very unique and cavalier approaches to how the set is ran. I'm assuming a lot of it is jobs a "professional" PSM wouldn't want to touch. This is partially the reason why I've never encountered this problem. And Jan, I'm trying man. I quit the day job years ago and am meeting as many mixers as I can. Wish me luck, huh?
  5. I'm definitely a novice to the scene but am well practised in making great recordings and have worked as an audio post producer for quite some time and know what is expected from that angle. I am, however, somewhat new to the traditions of the production world and am hungry to learn. I've been reaching out and meeting local PSM's to both learn and make friends in the field, but have had very little luck finding some sort of apprentice role in the Boston area, so I tend to learn everything on my own either on set or on the internet. JD - thank you very much for the book recommendations.
  6. I've been doing it for about 3, only 1 year full time. Very new and always learning, but it would appear the "production sound 101" book hasn't been written. My situation wasn't literally written into any of the (mostly useless) film/sound books I've accumulated over the past decade. Is there some secret wiki somewhere or a book you would recommend? Or will it just be a series of gaffs and asking around to figure this all out? Thanks again for the advice everyone.
  7. Not sure what the criteria for a "professional" shoot is but I guess this was one of those. Funny thing is they didn't even use the Timecode in post. They used camera sound for pluraleyes sync and manual where needed.
  8. Thanks for the replies. I guess its just a word of mouth rule as I can't seem to find any documentation that this is the standard. Lesson learned. So do you just always bring a Timecode slate or dumb slate? Timecode slates aren't cheap and based on the amount I've been asked to supply one, I would probably rent.
  9. I was on set of a commercial shoot doing run and gun production sound mixing this past week and I hit quite a snarl. As soon as I arrived I was asked if I had slate. There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it. The producer, DP, and AC all looked at me in agreement and said, "sound always brings slate." I felt bad beside I couldn't refute on the spot, but now that I've researched I can't find anything on the subject. I would assume either the AC or whoever is renting gear would bring it. So does anyone here know who brings the slate? New poster here, done lurking in the shadows. Hello!
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