BVS

Standard mixing levels for movie theater, DVD, broadcast TV, commercials etc

I believe they are shooting at 5K and 48FPS.. BVS

It could be your retirement fund Mike...what if all the freelance mixers all started billing royalties to their work over the years.....if you are employed as an employee for that show you can't, but as a freelancer with no contract you can...I said this to one producer and he said if that happened he would just dissolve the company and form another... BVS

http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10766341

Create space in layers...I used to work with an old 8 ball mic..it had what amounted to a double tea strainer that screwed on over the mic..two layers separated by space in between..worked very well...all metal in those days...think about material like the filter in your clothes dryer for sifting the lint from the air. BVS

Well not to give away too much Jon...it all begins with the mayonaise.... BVS

One of my DOP friends once said I was the only sound mixer he new who could make a nuclear bomb out of a Waldorf salad... BVS

The Insects..... BVS

Yes I did...we use to have breakfast sometimes..lovely guy..I filmed his demise on King Kong.. BVS

Hammond Peek CAS was the Production Mixer on The Frighteners,LOTR and King Kong....Tony Johnson CAS is doing The Hobbit...I did a small section of second unit on The Frighteners and King Kong...its quite an experience to work on...the creative excellence that is there is mind blowing..no limits.. The reason for the number of Reds is that each camera has been pre set for the specific lenses on them so they are all calibrated exactly...so instead of changing lenses, you change cameras..the ability to go between positive and negative 3D is amazing. BVS

I did some research into this a while back here in NZ...so may be specific to our country only, but in general if you don't have a contract with the production company that signs over all copyright to them, then you own the copyright on the material you recorded as the creative artist. I can think of so many jobs that fall into this category.... My reference was Media Law in New Zealand. BVS

Think you all know what it is..they aren't called condenser mics for nothing... BVS

I'm searching google.co.uk from NZ and can see this which looks a close match.....search the Images section http://directdiscountfilters.co.uk/frameset.html BVS

It carries the emotion as well as information....and works on many levels we are as yet unaware of...watch this space... BVS

I went to a lecture last night by an Associate Professor who is doing research on noise induced hearing loss...one of the many interesting things to come out of it was the way the Audio Cortex in the brain has to work harder to associate what we see in a picture with the sound that is recorded for that scene...if the sound doesn't match the perspective of what we are seeing then it has to work harder to try and reconcile what we are seeing and what we are hearing...and in fact leads to disengagement with the film after a while..so there's medical evidence there to show that getting the perspective right keeps your audience believing what they are seeing. BVS

I'm not a Radio with Pictures type of guy...I prefer the perspective and even with wireless mics you can place them so they cut better with the boom...a little movement up or down on the chest can change the bass tone by quite a margin...enough to make it sound more like a wider shot when lowered. Having been a rerecording mixer for 20 + years gives me the experience to know what works for the shot and most likely how it will be used. BVS

+1 Jeff...loved the old days of making the perspective work for the image... BVS

Excellent thinking.. BVS

Do A/B comparisons with them until you find the one that suits you. I made my choice a long time ago. BVS

This shoot started off as a comedy skit but the location was just plain wrong....pun intended.... http://www.stuff.co....-TV-pilot-stunt They face a year in jail or a $10,000 fine each if found guilty....

I was booked to do a big bubbly wine TVC a few years ago, a 5 day shoot in the country at an old villa that looked passable for the real French one. My boom op and I arrived on location at 7am after an hours drive over the mountain range. I walked up to the Director and said,....Hi what's our first set up? He said Hi B,what are you doing here? I said we have been booked for the full 5 days of your shoot....He sighed and said...There's no sound for this commercial, its all jingle... My boom op and I laughed all the way home on our full cancellation fees... Apparently the Production Manager had booked us "just in case".... BVS

Any time I've done it, it has been compact,in tight so as not to interfere with other passengers. ..as small a set up as possible...its not a film set. BVS

I'd say its too late for you mate, you've cooked yourself with your camera already. BVS

Yes the commercials were put into heavy control mode so we weren't blasted in the program breaks ( commercial breaks )...it basically sets the levels to be very close to the program levels. BVS

Rick R. (rraudio), on 08 September 2011 - 12:11 PM, said: The limiters can be enabled/disabled via the "Audio set" software menu. See page 123 of the manual. PS, Don't you just love the term: "Wind filter" BVS: Setting the 302s limiters @ +10 sounds awfully aggressive to me, especially with a 302 0VU= -20dB ref. I usually set my 302s limiters @ +16 or +18. But whatever floats your (and your clients) boat. Yes it may seem aggressive Rick but its more about being able to fit the international broadcast standard if it has to go to air at that level without a post production budget. The -10dbfs at peak is recognized and required in our country and many others...there's plenty of info on this...I could easily set my limiters to a higher limit and have a bigger dynamic range but this is TV and its best to modulate and keep your dynamics tighter without it sounding compressed to hell. BVS