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Everything posted by recroom

  1. Not sure I agree with you, most ADR calls I get are asking for specific microphones. It's just been a minute so I wanted to take a poll to see what are the most popular. I should be clear that I'm only recording ADR... a re-recording mixer will add compression, EQ, etc. If I eq'd ADR while recording, I'd find myself out of a job pretty quick.
  2. Hi all, I'm a post guy for the last 20 years. I'll be starting to do a lot more ADR here in the next couple of weeks with a few different companies and will need to setup my own rig. Just curious as to what is the most common microphones used on set these days are? In the past, I know the COS-11d was very popular. Have the DPA 4060s started to permeate the market? As far as shotguns, I've got the MKH 60 and Sanken cs3e, will I need to get a 416? What about Schoeps? Thanks in advance for your answers.
  3. Ok, yeah seems like it would be smart to stick to reputable sources. Definitely seems fishy.
  4. Has anyone ever bought anything from www.hdvtools.com/? Their prices are quite a bit lower than most other places I've seen... like significantly. A 788t that normally costs $6400 elsewhere is $4245. Seems a little too good to be true if you ask me. Just curious if anyone has ever ordered from them and what their experience was like. Thanks.
  5. This is all awesome advice. Thank you so much. I will post my article when it's finished. Best! Jeff
  6. Has anyone run into any solutions using an Ipad for field recording? I know Aleisis makes an Ipad dock with audio ins and outs, but what type of quality are we talking here? It's has a mic pre with phantom, but I can't imagine that it sounds that great. Love to see Sound Devices or some other reputable companies come out with a high-quality pro recording solution for ios devices.
  7. It may be a fultile pursuit on my part, but I refuse to "just let them fail and eventually they'll come around". We've all got to fight the good fight and as professionals it's important for us to resist the dreaded "downward spiral".
  8. Thanks to everyone for the great feedback. I am ultimately concerned about the overall quality of clients' projects while bringing an overall bump in standards. I mix a lot of shows and I spend wayyyy too much time fixing dialog issues... time that could be better spent on sound design and getting the final mix just right. A lot of these are pretty big shows using substandard equipment and inexperienced production personnel.... which amazes me. Here are some of the points I have made about the positives with using a PROFESSIONAL production sound mixer: -Most professional production mixers have their own kit which is generally in better shape than your average rental kit. Plus the mixer knows the ins and out of the equipment better as he's been working with it for some time. -Professional production sound mixers have encountered many different types of challenges when working in a variety of environments and have the expeirence to make adjustments to raise the overall quality of the project. EXAMPLE? -As George Lucas said, "Sound is 50 percent of the movie". Wouldn't it be nice to have a qualified professional in charge of what is such an important aspect of your film? Any other ideas? Thanks!
  9. Hey guys and gals, I'm an audio-post mixer trying to sell newer, younger clients on the importance of hiring an experienced audio production mixer and/or boom op (which of course makes my job easier). I'm currently writing an article that lists the benefits and am looking for some input. So my question is: How do you sell yourself to younger directors/producers that think that all they need is someone with a Zoom recorder and a pair of headphones in order to get proper audio on set? Short, idiot-proof comments welcome. Thanks.
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