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Veit Norek

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    Location sound mixer for feature-films, documentaries and commercials based in Berlin
  • Interested in Sound for Picture

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  1. Hi Group, we recently sent a COS-11 for repair to Kortwich. Since the mic was damaged right below the capsule, their trick is to fix it with DPA cable. They said they had great results with that. Today we got it back and obviously it is still broken. Can you maybe tell me from the attached sound file, what the problem might be? Thanks in advance Veit FEHLERT01_3.WAV
  2. That's exactly what the producer makes us do. We already had two little sessions with director, actors and us sound guys thinking what stupid unprofessional stuff we were doing. BTW each time different locations than the scenes were originally shot.
  3. I deleted the video and added a link to youtube. I forgot to mention that I already recorded an ambient track facing the train tracks. I am surprised that you both suggested opposite ways of recording the noise. Robert says facing a quite, consistent corner and wandering ear says facing the noise. So far i faced the noise. The problem is that they don't really have someone who could work on these recordings while we are shooting at the same time. I know that this is not my problem but I am sick of endless emails regarding potential ADR. Guess I am left hoping that the producer comes to his senses 😞 So far they only have an assistant editor who sends info about difficult scenes but he has no clue about sound. The Post is done by one of these bigger post facilities... They never really have time and have to work super fast, at least here in Germany
  4. Hi Group, I am currently shooting a TV-Series in Berlin and of course they didn't want to pay me to be on the tech recce. Now I am confronted with the most horrible locations. A little video as an example attached. Since it is a bigger series I didnt even wonder and thought. ADR, of course. So now I have the strange situation that the producer basically says, no ADR. For 80 days of shooting they maybe budgeted half a day of ADR. I know this is ridiculous and they should know better. Now he wants suggestions how to avoid ADR in horrible locations, besides changing the location. I already told him to hire a dialogue editor who really goes through all the scenes and taking parts from quieter takes. I suggested sequence shots, so no cuts, the whole scene in one take, but that doesn't suit the format of the series at all. Also I suggested to shoot two close ups at the same time, so at least you can edit the environmental noise. I know that the last answer to these locations is indeed ADR but that is not what he wants to hear. I am a bit clueless by now, cause I only show up on location in the morning and there is nothing I can do. Are there any magical tricks I can still try.... I think it is ridiculous that they choose these locations and not expect ADR, but this guy is breathing down my neck right now. Best Veit The video https://youtu.be/wEdjvFoC9aA
  5. The first line under the video was: Private test made by Philippe CHENEVEZ That moment I closed the tab and forgot about it. "the only statistics you can trust are those you falsified yourself" :-) I am not saying he faked anything but a comparison made by the founder of the manufacturer of one of the products.....mmmmh
  6. Okay I think I am piling up misunderstandings... I am just saying a boom in a wide shot or a so called ambience mic don't differ. They both add acoustics of course. I would never not boom any scene ever (so why record an additional ambience mic esp in a wide shot). I am still onto this ambience mic which Tom mentioned very very early in this post. All answers I am getting are about 101 of production sound recording and how they mix it in the post. I know all that, so I think my posts are being misunderstood. Cheers To this, how can the answer be this: Feels like a superweird pingpong Answering with the most basic 101 acoustics I don't get it, sorry
  7. Jez, this is pretty clear to me. I also do dialogue editing on features. I am still wrapping my head around that ambience mic. Okay it is off axis vs on axis on a boom in a wide shot. But on an interior scene how will the ambience mic ever be without the actors voices? Pointed to the ceiling or not....
  8. Could you please name a few? Isnt the boom in a wide shot kind of an ambience mic anyway?
  9. Can you please post a link, I just can't find that product.
  10. Can you point me ina direction towards these cables? How are they called, where can I buy this?
  11. Samsung Galaxy S5 mini, latest OS works fine. The bugs I found are the same on my iPad.
  12. Zeigermann_Audio in Hamburg, Kortwich in Berlin. I am missing an aquivalent in Cologne, since this is closer to Marl. Maybe someone can chip in on this. I'd rather record it with 3 MKH 50's, or even 40's.
  13. I think you should consider distinguishing between what you mix to your ears and what you record to your device. Yes make a monomix, BUT record a split track. Booms to L, lavs to R. Listen to LR mono and also send L+R summed to IFB, video village and maybe camera. This way for everyone listening and for playback you have the Monomix, but the editor has a tiny bit more freedom in using your audio by having a split track. They should pan both tracks in the middle anyway, no such thing as listening to stereo L Boom and R Lavs. But then at least they can for example when two actors hugging each other and you didnt manage to fully close the lavs, they can mute this moment on the lav track and keep sound for screenings consistent without touching the isos. Trust me they will thank you. The less they have to touch your isos in picture editorial the happier they will be. I see no harm in recording a split track while listening in mono. It is a huge benefit. So good luck on your shoot. But with this community backing you up you wont have a problem. Keep us in the loop and just shoot when you have more questions.
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