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Marco Lopez

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About Marco Lopez

  • Birthday 09/01/1974

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  • Location
    Nicosia, Cyprus

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  1. There's so many factors, from mics used, to noise reduction done later on during post production.
  2. Hi there, If you get the sound effects bible by Ric Viers, you' ll find a subject that covers the transportable foley. Easy to construct and acomplish what you're looking for. I would suggest always keep in your mind of recording foley outside a Foley stage. As a last small advice is to watch experienced Foley artists in action. In that way you'll understand how footsteps support the different characters involved in a shot and their mood also.
  3. Hi guys, I'm preparing for a scene, in which, I'll need 6 tracks(iso's). So, I was thinking of linking my 744 with a 702 (that I'll rent). Linking two recorders is something that I've never did before, so I'm asking for your patience and help. I know that you can do that through the C-Link conection, which carries world clock, TC and RS-232 data. My question is, should I also use the timecode multpin connection in order to assure that both machines are running and maintaing the same speed, or is it just safe using the C.Link connection? Thanks in advance, Marco
  4. Hi guys, This my view from the office last night. We are shooting in Ayios Sozomenos, an abandoned village in Nicosia.
  5. Hi guys, has anyone used Boom Recorder with the Digi 96I/0? Thanks, Marco
  6. Wow Crew, great picture! What mic is that? And also, which film is that? Best regards, Marco
  7. Why dont you do a test linking you Rx using instead of line level, Mic level? Adjust your Tx at -30 and Rx's at +6db or lower, and also adjust your 552's preamps. Listen to the difference if you don't like it go with the line setup. What mic are you using? Where's the scene taking place? Best regards, Marco
  8. Actually Altiverb gives you this option. You record an impulse on set ( a clapboard would do) and then import the file in altiverbs plugin and use that impulse to match ADR with the on set sound.
  9. Man it's a tough one, but I think it's possible to accomplish a good result. 1. For the acoustic part, I would definitely ask from the production to cover a big part of the ceiling with hanging blankets. For the close ups I would use a second layer of blankets, above the speaking actors and a third one on the floor, and a 4th one blocking the sound coming from the walls or windows, so you can diminish the reverb in the wanted area. 2. Now for the drain issue, I would ask from the production, for the close up parts, to lower the level of the water enough so I doesn't come out, provided that the pool behind the speaking actors is out of focus, and you cannot tell that the water level has changed. 3. For the safety part of the wirelles system I would use the Aquapac 158 or 554 depending on which system you'll use. 4. For lav mics someone suggested to me the VT500 water, which can be sumerged temporarily under water...don't know exactly for how long... 5. As for the boom mic, I would try out a cardioid mic, or perhaps with the treatment you could use a shotgun. 6. For the crowd walla I would plan that part previous the shooting with the director. According with the shots and how the story evolves I would record specific sounds, like for example, just people talking normaly. Then more excited and then cheering. You could record a couple of people whisteling and cheering for their team or swimmer individually, and then of course the applauding part using the same variations as the vocal ones. The sound designer will appreciate that. It surely sounds interesting and a challenge one. I would like to see how it goes. Good luck.
  10. My wife took this picture of me during our vacation in Sweden. We're seating in a restaurant next to Gröna Lund in Stockholm. Great times!
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