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David A-Ribeiro

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About David A-Ribeiro

  • Birthday 06/25/1981

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    Vienna, Austria
  • About
    I am a production sound recordist and sound editor, originally from Lisbon, Portugal. I am currently based in Vienna, Austria. You can find some of my work on my website www.davidalmeidaribeiro.com.

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  1. Hello everyone, So, I will try here at jwsound as well and I hope this is the right thread: I am looking for stereo ambiences of rural and semi-desertic regions of the Middle East for a documentary largely shot in southern Israel. General desert ambiences are not too hard to find or to put together but I would also like to have genuine recordings from that area if at all possible. If anyone knows about any packs or has some quality stereo or 5.0 recordings that they would give away/sell/exchange with other ambience files please reply or pm, thank you.
  2. Thanks everyone. JackHenry, cool tip, did not know that program. Will also look at RX. Joe, there is no big deal, I am just trying to spare some confused phone calls/emails from editorial by handing them the files at the standard sample rate of the project.
  3. Thanks Rick. Doing it in Protools is an option but more time-consuming than if I could simply batch-process them somewhere else.
  4. Which is how I have been getting projects from editorial all these years...sorry, my bad. I did not realize the limitation was about embedded video. (Philip, I am assuming you mean opening the OMF and importing the video,right?)
  5. Slightly off-topic but has been mentioned in the thread: is anyone regularly using AAF from Premiere into PT 11HD without major issues? After having done some workflow tests with a client we agreed to settle for OMF because the AAF tests had sketchy results. However, I was unaware of another Avid candy, namely that OMFs with video are not supported under PT11HD ( I updated recently). I would prefer to help editorial with exporting AAF´s rather than downgrading or have a parallel PT 10 running. Any thoughts/tips?
  6. Hello everyone, Say there is a break during a shoot and you go record some useful ambience & FX, switch from 48k to 96k, and forget to switch back to 48k for the next few takes when the shoot resumes. What are your suggestions to do this conversion,considering the priorities are,in order of importance: 1.sound quality 2.preserving metadata 3.possibility of batch conversion Thankful for any tips
  7. Not bad as well, that looks like the kind of doc I might be working on in the near future.
  8. Yep, no issues at all, sounds good, nice mix with the lavs, another happy sound day in the countryside. Thanks everyone
  9. This is how it looks like at the moment. There is a weight at the base of the tripod, no worries there. My concern is only that the very cheap boom will not withstand the rycote & shotgun.
  10. Great stuff, everyone, thanks. Whitney, I might find something in the way of that clamp you mention, could try that. Laurence, thanks for the instructions, I am not very clear with all the terms (sorry, not familiar with all the English grip terms), not sure what you mean by "knuckle" but I think I can infer...I´ll try that and maybe I´ll upload some pics, this shoot will last for a couple more weeks so there is some time to experiment a little. Boomholder could be an item to add to that long list...
  11. I´m in a shoot where I will need to improvise a rig to have a fixed boom stretch out to where the talent is speaking. There is only grip gear at my disposal and I was thinking of using a C-stand (or similary sturdy stand) and a clamp. The boom should ideally be stretched to a minimum 3m long so that there is space between it and the action for cam-op´s to move around freely. My question is: is this realistic without a pole holder to support the boom at two different points? The laws of physics tell me I should probably clamp the boom at the end of the first section, but even there do I run the risk of the boom simply cracking? Any opinions welcome!
  12. Thanks everyone. Senator, I assume your preference for Tascam and Marantz is based on personal experience, did you record with the onboard mics on all of them ? Nagra is not only beyond what I wish to spend but also not suited for the purpose. I want a recorder that I can carry with me to spontaneoulsy record ambience on situations where bringing a whole 788T rig is not practical/safe (all sorts of agitated urban/nature situations, broadly speaking). Which brings me to the kind of ambience being recorded: if self-noise is acceptable, recordings of louder events will not suffer from this, but rather from things like stereo field, transient response,etc. Armin, very cool links with interesting references and ideas. The DR40 is close in terms of price but it does not have the multi-capsule option to do the surround thing. I guess nothing beats listening to some samples and just comparing them to your own recordings.
  13. Thanks Tom, this is informative but unfortunately the audio samples are mp3 only. (Ja, Deutsch ist kein Problem!)
  14. I know one can easily find online recordings/samples made with the Zoom H2n but still I´d like to ask here: does anyone have any unprocessed, 24bit/48khz (or 96khz) quiet to medium busy ambience recordings done with this portable recorder? I have been thinking of buying one ever since it came out and even though it is not such a big investment I would still like to be sure if it has the minimum quality to be usable in film. I do not want to carry my 788T + Stereo Mic rig around everywhere to record ambience. If anyone has any 10 second or so snippets of an audio recording they feel is a good example of the H2N´s capabilities, I`d be thankful if they could post a download link or just send it privately. Cheers! David
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