Marco Lopez

Hey guys, how's it going? I need your help on this one. I'm in a low bugdet movie that includes car shots on A Frame combined with quiet talkers and open windows. Yippee ki yay!!! I said to the director my concerns and nothing changed except from the fact that the actors talk a bit higher. What I also do is record wild tracks. For this one i started using CCM 41's but the background noise (exterior and specially interior) was too high through these mics that I eliminate them. I ended up using only lavs VT500. So, based on your experience how do you deal with situations like these in order to get good tracks? Best regards, Marco

Hey guys, just got this link. http://www.waves.com/content.aspx?id=5798

A couple of weeks ago I asked a producer if the clients of a commercial we shot, were happy (meaning my sound). And he said: "Well, they were happy with the photography, acting, art... they didn't say anything about sound". I said: "well that's good. Be sure, if there was any problem with sound you would definetely heard from them right away." He laughed and he admited that I was right.

I'm in too. Thanks for all the hard work. I said that before, this site offers much more information than a university. Best regards, Marco

"...In the end, the audience cannot tell what equipment was used, but they know if they liked the results, or not..." I'm not certain if that's totally true. I'm sure that you all've been in theatres where the sound comes only from the center channel or some part from the left side of the theater and nobody notices it, not even the manager, except from you. I've been working in this field during 6 years, a newbie comparing to your experience, and in my humble opinion and I emphasize humble, I prefer working with good mics ( recently I've purchased Schoeps and I feel blessed) in order to get good results. I know that the main core is my experience which gets better day by day by making mistakes and learning through the practice, combining it with good equipment. On the other hand if you don't know how to handle the arch and arrows, you'll probably gonna kill somebody that's innocent. So the truth lies somewhere in between. ( Always in my humble opinion) Best regards, Marco

I got that too

I just copied and pasted the html address of a youtube video and never thought that it would appear a video thumbnail, sort of. I can't help either on this one...

Hey guys, Got on location and proceeded recording with the same way as I did on previous projects that included this camera. Using the good old method of a clapboard and recording with my equipment without feeding the 5D. Before the shooting I had the chance to talk to the director and he understood the situation and he was familiar with the pluraleyes software. Best regards, Marco. PS: I hate feeding some HD camera audio from my equipment. It's different to record through some expensive dedicated preamps than through a cam's preamps! It reminds me of the old walkman's that were cassette players and also radios. Eventually one of them used to brake.

Hey guys, Thanks for your replies. I found a topic senator, it's the 5D Shoot Workflow. I'll do some tests today if I have the time but keeping in mind, as you say Whitney, to use that audio as reference. Best regards, Marco

Hey guys, I'm sorry for this topic. Since this camera appeared I've recorded audio separately from the 5D using a clapboard. My question is, is it possible to feed the camera via my recorder? Is there any issue of giving a line level signal? I definitely hate doing this through the minijack! Thanks in advance, Marco

Nice one Christian! Min fru och svär mor tycker okcså om honnom. Heja Sverige!

Exactly!

It depends on the budget. Mostly, here, we shoot on film 16mm, some on Red camera and lately on Cannon 7D. Best regards, Marco

Thanks Michael, so dry ice it's not a good solution. That's what I also did. Every pot that was not in the CU or Medium shot I turned it off. The ones that they were the art dep would add only boiled water with the fire off.

Didn't know that. Thanks for the tip

There's something that I'm listening lately.

The Abbey Road sessions rules. Every time I watch these videos I feel a total respect for this studio( for all the artists and music history that was made in those stages).

You're absolutely right. It's a total mess! I just finisihed a commercial and one location was in a big kitchen with lots of cacerols on fire with boiling water in it(director wanted the effect of the steam) and actors having the dialogue around it. I couldn't get any good sound under these conditions(boiling water, fire, etc) so I talked to the director and he understood the situation and my concerns (I guess he saw my frustration). So we ended up boiling the water right before every shot in a kettle and we got a clean sound. So, beside the low pay will you be able to get a clean sound under the pressure of finishing the episode?

Try to contact Ambient in Germany Ambient Recording GmbH Schleissheimer Str. 181c D-80797 Munich +49 (0)89 360 55 100 Fax: +49 (0)89 651 85 58 http://www.ambient.de Of course it's always better to use your own equipment, cause there's no surprises there. I don't know if it's cheaper to rent or not. Also keep in mind that in Europe we use 240v instead of 110v in the States.

Now, that's a good one!

Same here. Tired ears and a headache after long hours of shooting. A limiter sounds a good idea. What I do is trying to monitor in low level. On my 744 i use the headphone knob at 11 o'clock and sometime during the day I might go even more just to check something really quick. Best regards, Marco.

I guess from now on the director and producer(s) will be talking about it as if it's a joke without thinking the safety of the crew and actors.

Is it already Christmas?? Wow, thank you very much! Best regards, Marco

Hey guys, the ADR trailer looks very interesting as a construction, interior acoustics in a small place and noise reduction acheived. Now, I'm thinking loud so please bare with me, perhaps it's a silly question but anyway. Isn't this trailer or booth going to affect negativly the sound department during the location selection? Select locations problematic for the production sound mixer and maybe overlook his professional opinion, since the production counts with the trailer.

Congratulations on the 10 years! I've been watching this series since the begining and loved it and I must say that after all these years I'm still amazed by the plot, acting and of course sound! Can't wait to watch season 10. Best regards, Marco