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    Toronto, Canada
  • About
    musician and vfx professional looking to shift careers into production sound.
  • Interested in Sound for Picture

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  1. oh, damn. i’m sad to hear. thanks for the recommendation! i’m trying to dive right in to the theory and application for dialogue editing but also sound design (including foley). i have a strong background in music, but it’s these other areas that i’m trying to strengthen.
  2. i came into the post forum to seek out book suggestions and found this great post within 30 seconds! i love your "producing great sound for film and digital video” book and am excited to dig into your postproduction one (which i just ordered along with the purcell book). any additional books you’d recommend as next level reading?
  3. it's primarily dramatic fiction that i've been working on. typically low budget, using a friend of the producer's house or condo as location... so not a controlled studio environment. i just thumbed thru jay rose's book producing great sound for film & video, which has lots of useful information in chapter 6 (well, the WHOLE BOOK is full of useful information, but you know what i mean). and what i take from that is, all things considered, my primary concern would be any walls/surfaces directly opposite the talent and walls/surfaces parallel to the talent would be my next priority for absorbing the earliest reflections.
  4. i've had that experience too. even listening back to my recording in a quiet space afterwards and being surprised how much actually got rejected by the mic afterall, but sometimes i wish some of those reflections were attenuated a bit more. not totally eliminated, just more in the background, this is usually when it's a particularly wide shot so i couldn't get as close as i'd like. i noticed both you and philip said "furni pads" rather than "sound blanket", does that mean you find the cheaper furniture pads you can get at home depot do an adequate job?
  5. in the quest to get the best dialog recording i can get, i'm trying to learn how to reduce those pesky early reflections. i'm a fairly new sound recordist and thus far most of my gigs have been in boxy rooms with nothing but hard surfaces to reflect. i'm using a super-cardioid mic (sennheiser mkh-50) and getting the best/closest on-axis recording i can, and my recordings sound very good, but they can be better by getting rid of those early reflections still being picked up. i'm thinking about getting some proper sound blankets (those 'producers choice' are what i'm leaning towards) and reading up about room treatments but these are focused on home theatre situations which are not the same considerations for production (totally different 'listening positions', etc). so i am wondering what the experience pros here do when they're in a situation like shooting interiors on location. you can't just blanket every wall, you have to be judicious with where you put sound blankets... what's informing your decisions on where to place things?
  6. that's a correct assumption, as the cable shield is mechanically connected on both the LEMO and DIN 1.0/2.3 via crimping. following the connector manufacturers' assembly instructions, and connecting LEMO pin 5 to the DIN conductor pin, i have exactly what i need for a uni-directional TC cable from the SD633 to UltraSync One. it worked perfectly in my testing and in the field over the weekend, so it's safe to say that it is NOT required to involve the LEMO's ground pin.
  7. hmmm, i made the cable last night before i saw the additional replies saying i do need to. fwiw, the cable works just fine without it, and appears that it's in fact not necessary. whether or not it's best practice is a different matter, but it works just fine without it.
  8. i'm about to put together a bunch of TC cables, and was wondering about ground. for example, the TC LEMO 5-pin pinout from the SD633 is: 1 = ground 2 = SMPTE TC in 3 = ASCII in/out 4 = tuning out 5 = SMPTE TC out so, using a single conductor cable, i'll connect LEMO pin 5 to the DIN conductor pin for my uni-directional cable for feeding TC from my SD633 to UltraSync One. but i'm wondering if it's necessary (or at least wise/best practice) to connect LEMO pin 1 to the cable shield for grounding? or is that totally unnecessary?
  9. they do 64-bit processing but record 16 or 24-bit audio files.
  10. has anyone had a chance to use the new mkII in the field? the 32-bit floating point is intriguing. it's got me just about ready to drop my credit card down on the counter for one 😆
  11. mikebarber

    Boom Op Kits

    thanks for this, it's a big help! i agree, my credo is usually "better to have and not need than to need and not have." yikes! now that's not something i would have thought to anticipate.
  12. please forgive if this is a silly question (or wrong forum) but i was wondering if everyone’s buying their mixer/recorders (which are very expensive, for good reason) or if anyone leases theirs. there are always arguments for both options when it comes to other things (like cars, computers, etc) but what about professional tools that also experience evolution in technology over time? as someone who is looking ahead to eventually build their kit, the prospect of dropping thousands of dollars at once to own is daunting, but leasing isn’t as scary. but what do i know? there may be things i’m not taking in to consideration that i should.
  13. mikebarber

    Boom Op Kits

    that video is fascinating but obviously not something a new comer like me could or should try to match so early on. i’m really curious to know what a boom op is expected to bring to set as part of their kit. i don’t want to make any assumptions (besides their own boom pole) so thought i should ask: what should an aspiring boom op’s shopping list look like?
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