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cory

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About cory

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  • Birthday January 1

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    http://www.silversound.us

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  • Location
    NYC
  • About
    Post Production Sound. A Little Production Sound, Too.

    Silver Sound
    www.silversound.us
    http://www.imdb.com/name/nm2258432/

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  1. cory

    Wireless

    IMHO I think that you should go to a dealer and try out these units firsthand before you make your decisions. I often find that what I find out in person doesn't always match what some folks are saying online. For instance, there are many different kinds of TX's for both Lectro and Zax. I have found the construction of most lectro 400 series to be fantastic, its true-- but I also haven't had any problem with zaxcom TRX units falling apart, and the build quality is more than fine. Would I smash it against a wall on purpose? No. But we have used them all over the world through trying conditions with no problems re: durability in terms of sound quality, IMHO between Lectro and Zax it is hands down Zax. But remember you definitely have to get used to their menu systems, which have a LOT of options that you need to acquaint yourself with before going into the field. As for the SRC's-- the early units had some problems but I hear that the factory has addressed/is addressing those issues. i don't have any experience with wisycom so I can't speak to those.
  2. We are using the ZHD and it is phenomenal (actually why we decided to approach Zaxcom about making this video in the first place). You'll also find that the ZMT actually has an even cleaner noise floor, by about 5-6 dB... MAJOR ANNOUNCEMENT FROM TEAM ZAXCOM: DEFENDERS OF THE AIRWAVES! This new wireless is crazy go nuts. We at Silver Sound Studios are so damn proud to have produced this video for Zaxcom. Big ups to director Alexander Engel, composer Alexander Juhan, cinematographer Fletcher Wolfe, VFX maven Mark Reynolds, and co-producer Catherine Corcoran. Glenn Sanders, actor of the year, Colleen Goodsir, badass of the year... Thank you so much for letting us join.... TEAM ZAXCOM for this release!
  3. UPDATE: Maxx is headed back to mothership and Zaxcom is providing incredible support with a loaner till they sort it out! Looks like a hardware issue. Thanks folks!
  4. Firmware reinstalled.. no dice looks like it's back to the mothership with this one...
  5. They're not open-- but did email Howy. Hoping some Maxx users might have some ideas.
  6. Maxx is having a lot of problems on bootup. Sometimes it is just completely frozen, sometimes it just runs... slow not sure what's going on. Tried resetting the firmware, new CF card, changing the battery that is plugged. Tried resetting to factory defaults. Anyone have any ideas? Never seen anything like this before. SOS. When frozen I can't even turn it off (have to physically unplug power cable). Using Transcend 32 GB CF card. UPDATE: Tried a few hard boots, sometimes it seems to run very sluggishly, sometimes it seems okay on startup, and sometimes it just is frozen on startup. Is there a way to reset the RAM?
  7. I bought 10 of these. They are amazing.
  8. cory

    RX200 phase issue

    Thank you so much for reporting this! This could have boned me...
  9. I believe: 7.28 firmware or 7.41 firmware (need to double check) cards were all approved and purchased last month 32 (transcend 133x) other cards caused same problem 24/48 recording factory restore was attempted I'm going to have them update firmware and see if that fixes the issue-- thanks for the heads up Jack! (I just assumed they had the latest but it appears they don't!)
  10. UPDATE: Unfortunately still experiencing problems. Here is an email from my friend. Anyone else still having this issue? What was happening: With mirroring set to CONTINUOUS, the progress display seemed to be stuck at (100%) while rolling, and the Mirror takes advanced like normal. However, nothing was actually written to the mirror card. The mirror card and the primary were both freshly formatted, all tracks were mirror-enabled, and all the other mirroring settings were set to default. We had previously had a problem with CONTINUOUS mirroring during takes with a lot of channels record-enabled, but this time around I was having the error even with just one track armed. Workaround: I just left mirror set to ON instead, making it so that the Nomad had to be left powered on for awhile at the end of each day in order to catch up on all of the mirroring. The mirroring progress bar would stop/freeze every time I rolled (not sure if this is a bug or by design), making mirroring only possible when nothing was being recorded to Primary. A couple of the days down there we were rolling almost constantly, so needless to say this was an inconvenience.
  11. Facebook. Wow that was fast.
  12. Here's a nice article that postPerspective did about the process. I'll cut and past as well as link! http://postperspective.com/wheatpaste-poster-comes-life-paper-heart-music-video/ VFX bring wheatpaste poster to life in ‘Paper Heart’ music videoLeave a replyEach January, The Silver Sound Showdown music video festival and battle of the bands takes place at Brooklyn Bowl. It pairs the winning director and winning band together for a chance to make a music video with Silver Sound Studios in New York City. It was here that Paper Heart, the music video directed by Nick Snyder, produced by Silver Sound and featuring the bandBlood and Glass, was born. “Paper Heart, one of the most ambitious Showdown collaborations to date,” according to festival director and producer Cory Choy, features Blood and Glass’s lead singer Lisa Moore as a wheatpaste poster on walls across Brooklyn. It was shot on a Red Scarlet camera, features effects created in Adobe’s After Effects, Photoshop and was edited on Adobe Premiere Pro. Why the wheatpaste-poster look? LA-based Snyder (@nickwsnyder) works in the arts district of downtown, where he sees inspiration in everything. He also liked the idea that the nature and lifespan of the wheatpaste poster seemed to play nicely into the “themes of isolation and fragility found in the song.” Director Nick Snyder, right. Snyder’s Silver Showdown-winning video Lost Boy Found also combined the techniques of live performance, compositing and animation — silhouettes of actors were composited into a fantasy shadow puppet world — so this was a realm he was comfortable in. The Production After several months of prep, Snyder and the band made their way to New York City for the two-day shoot. The first day was dedicated to shooting plates. Locations around Brooklyn had been scouted by Silver Sound, Google street-viewed by Snyder prior to arrival, and then scouted in person. So by the time production began, specific moments had been planned to take place in a handful of selected locations. The remaining moments were narrowed down to areas where the filmmakers anticipated chance discoveries. Snyder, DP Andres Cardona and a skeleton crew set out onto the streets of New York to shoot with their Red Scarlet. Going Green The second day was shot at Parlay Studios in Jersey City and dedicated exclusively to greenscreen shots. During a brief break in between days, Snyder analyzed the plates. While he shot listed and storyboarded, he also left room for improvisation and collaboration. To aid lead singer Lisa Moore in her characterization, extra attention was given to wardrobe, makeup and props. “For example, it was decided beforehand that her prop cane would become a matchstick and that after using it, the matchstick would shrivel and blacken,” explains Snyder. “The art director constructed a practical burnt matchstick prop, but rather than swapping it out during Lisa’s performance, the prop was shot suspended in front of the greenscreen. Then, using an LED light on Lisa’s unburnt cane, I tracked the movement of the matchstick in After Effects. I then replaced it with the burnt matchstick seen at the end of the video.” The same technique was used for the origami birds that interact with Moore throughout the video. Practical birds were made, shot against the greenscreen and keyed out in post. The intention was that they could be keyframed in After Effects, but their natural movement would allow for a slightly more organic feel. It’s also a good time saver. “Green apple boxes, chroma key gloves and even crew members wrapped in green blankets were used to achieve the effect of tactile contact within the video,” explains Snyder. “The performance moments were shot from start to finish in various sizes, and shooting in 4K allowed for any Lisa/plate size relationship miscalculations.” The Post The next step was assembly. This involved mapping Moore to the building surface plates. Premiere Pro was used to assemble performance shots in raw R3D and narrow down her best takes. For performance takes, a six-panel export was made to quickly compare her gestures from the narrowed down shots. From there, a preliminary pass was made on pairing Moore with the plates by adding the chroma key effect in Premiere. “This simplified version of After Effects’ Keylight allowed us to see what was working without having to check all the shots in the much more sluggish After Effects video playback,” says Snyder. “Additionally, once the assembled shots were ready for AE, the greenscreen clips with this chroma key effect would stay in the metadata of the shot.” Another time saver, he says, was that once the Moore/plate relationships were locked and a cut was close to locked, the compositing could begin. To save space and make for faster save times, Snyder chose to create separate After Effects files for each shot. The first step was to finalize the look for “Wheatpaste Lisa.” After some trial and error, a look was established and a master file was created that could be imported into each After Effects file, but the process for creating the look wasn’t as easy as copying and pasting a LUT. In some cases, upwards of 20 pre-comps were used. According to Snyder, the basic process went like this. “The greenscreen shot was keyed out using Keylight, adjusting for spill and greenscreen inconsistencies. Luckily, the DP did an excellent job at lighting Lisa, so this was a breeze. If there was an issue, a simple matte choker was used. Then, this was precomped and a minimal texture was brought in to dirty it up a bit. The overlay blending mode was often used as well as an image mask. It was precomped again; an off-white stroke was added using Layer Style Stroke. This effect was used to create the white-edge poster look. The stroke size and precomp level varied from shot to shot, depending on the size of shot Lisa was in and also the texture of the plate onto which she was to be composited. At this point the look starts to emerge a bit, but a few steps remained in order to completely bring Wheatpaste Lisa to life.” For Paper Heart, a combination of Adobe CC’s Glass and Texturize were used to give Moore a convincing paper texture as well as authentic surface imperfections, explains Snyder. Most often, two bump maps were used — one for generic surface texture and lighting, plus a second to pick up the surface of the wall behind her. For the second, a high contrast grayscale image was created in Photoshop to bring out the important parts. Using Dynamic Linking, Snyder was able to paint over parts of the bump map that were less important, save and view the results in After Effects. Lastly, two layers needed to be created to mimic ink on paper and human error. This would also come into play later in the video as the iterations of Wheatpaste Lisa start to erode away. “For this effect, the comp had to be duplicated. Unfortunately, After Effects comp duplication only duplicates the top comp,” explains Snyder. “So in order to duplicate all of the nested comps, a purchased Script called True Comp Duplicator had to be used. The newly duplicated comp was then brought into the original comp and placed below. Using the Fill effect, this comp was colored off-white. Then, to add the finishing touches, some final grungifying had to be done to the top later. Using Photoshop, 5K resolution brush strokes and alpha channel grunge effects were created on multiple layers. Once imported into AE, these could be used in the top Lisa comp. Using the Silhouette Alpha blending mode, the grungy paintbrush strokes subtracting bits of Wheatpaste Lisa, creating imperfections and rough edges that exposed the off-white layer beneath it. “Finally, back in the master comp with the two Lisa layers, those were precomped once more. At this point, the look was more or less complete,” he continues. “But from shot-to-shot, additional work was sometimes required to successfully composite Lisa onto the plates.” Some additional tools used were Roughen Edges, another Matte Choker and occasionally another round of Silhouette Alpha grungy paint brush strokes. For lighting, Snyder used either the 4-Color Gradient or Gradient ramp on an Adjustment Layer or on a Solid set to the Hard Light Blending Mode. Opacity was usually in the 10-20 percent range. During the process, Snyder and Silver Sound discovered that Wheatpaste Lisa’s movement looked best at 12fps. “We wanted to underscore the fact that Wheatpaste Lisa was an actual wheatpaste entity existing in her own little universe, not just a video projection,” explains Silver Sound’s Choy. “So the choppier feel of 12fps was used to make Lisa’s motions a little less fluid, a little more animation-y and other worldly feeling.” For this effect, the Posterize Time effect was used. Throughout the compositing process, Snyder created H.264 proxy files from the transcoded R3D footage. This was especially helpful with the origami birds. To save space, the birds were rendered out on their own at a much smaller file size and then re-imported. The Death of Wheatpaste Lisa Finally, Wheatpaste Lisa had to die. To achieve the effect of wheatpaste poster weathering, both layers of Wheatpaste Lisa had to erode. “Back inside the top layer — the double layer Lisa comp — individual brush strokes and grunge effects were animated with Silhouette Alpha as their blending mode,” describes Snyder. “Once the weathering looked satisfactory, these animated layers were copied, pasted into the bottom layer Lisa comp and adjusted in movement and timing. This allowed for the top layer to erode just before the bottom layer, pushing the compositing one step closer toward realism. Occasionally, one final matte choker and/or an animated mask was used on the final precomp to eliminate any stray particles or to insure that she dissolved away completely. The crew. Once complete, the shots were rendered at 4K ProRes 4444. The final shots were delivered to Silver Sound colorist Vlad Kucherov with Moore separated from the building surface plates. Using DaVinci Resolve, Kucherov worked with Snyder to achieve satisfactory look that worked well for the video concept while also helping sell the compositing realism. Having the layers separated gave Silver Sound more control during this process by being able to adjust the levels independently. The goal was to find a look that plays to the feel of the song, but also gives the video a confident personalized look of its own. “In the end, Paper Heart is the result of careful planning, post-production experimentation, lots of hair pulling and creating a concept that exists within a strict set of limitations,” concludes Snyder.
  13. Thanks so much for the kind words! So this video is the product of something that I came up with a few years back when thinking of ways to collaborate with new people on fun projects: The basics are that we (Silver Sound) are always looking to work with new and creative directors, and one of my favorite mediums has always been the music video, particularly because the song provides a structure so the visuals can be loose if desired, or fit tightly. -- As an aside I also actually really enjoy doing playback and 10 years ago was relatively popular in town amongst some directors who work with some pretty neat bands (Regina Spektor/ Vampire Weekend/ LL Cool J) because I had a portable battery powered guitar amp that had a lot of juice and didn't need AC power (old hat now, but you know)--- Anyways, we came up with the concept of a music video film festival where the winning director collaborates with us on a music video. However, after some discussion, we realized that the missing element was having a good band to make the video for, so the idea was modified to a simultaneous music video film festival and battle of the bands where the winning director is paired with the winning band, and the money we collect at the door is used as the budget for the music video. We have a pretty solid network of crew in the area who sponsor the festival (help crew the video for free) each year. Thus the Silver Sound Showdown Music + Video Festival was born. And I'm proud to say that I'm pretty sure we were NYC's first music video festival! We're now in our 7th year!! ? As another aside, another really fun part of the festival is that we get to have a panel of judges help decide the winners and two of my idols actually agreed to be judges for many of the years and again this year: Justin Frankel and Arthur Harrison. Pretty neat for a sound guy. Anyways, the winner of the music video part of the festival was Nick Snyder and he won with this video. The winning band came from Montreal (it's an international festival, we've had people come all the way from Qatar in previous years!) and is called BLOOD AND GLASS. Blood and Glass is fronted by Lisa Moore (the main character in the video) but she actually plays with a fantastic band and plays up and down the east coast. Fun fact, after working together on the video, Nick actually designed album art for Blood And Glass (another fun part of the festival is that it encourages all sorts of collaboration, even without Silver Sound's direct involvement, and some of those relationships have lasted for years!)-- great blog entry about the collaboration here: http://www.nickwsnyder.com/test-3/ HOKAY! So about the actual video. Our shooting sponsor for this year was this guy, Andres Cardona, who is a long time collaborator of ours and he brought his Red Epic to the table. We did two shooting days: plates all around NYC (including outside the venue where we hold our festival, Brooklyn Bowl) and one at our friends and festival sponsors' shooting stage: Parlay Studios. The stage stuff was all green screened, and we added it on top of the plates. that's me holding lisa up for the floating shot (notice our green gloves) This was pretty fun too-- notice the fan to make lisa's hair blow around. Nick had some pretty good and elaborate storyboards, but we did figure some new things out during the shooting and editing process. Nick is writing a little article about the specifics of the compositing and how he made it look like street art. I'll post it up here when he finishes. Anyways-- thanks for watching, and I'd be happy to talk more about the video or the festival. Anyone else here super into music videos/make them?
  14. Ended up buying a pair after the shootout (they were pretty impressive) and they came today. They do not match with each other, but they both sound pretty good-- would not use as a stereo pair, but would definitely use in the same capacity as an oktava. Haven't swung it around on the pole at all yet...
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