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Sara Glaser

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About Sara Glaser

  • Birthday 08/24/1975

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    Los Angeles, CA
  • About
    Doing sound since 1998. Got my first job in a recording studio from Bill Dooley. Toured with Al Green in 2003 and mixed at Monterey Jazz Fest. Worked as a restoration sound editor on the MGM catalog from 2001-2003. A combination of poor studio management, 9/11, and life brought me to production sound at the end of 2003. Been here since.
  • Interested in Sound for Picture

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  1. I'll be there. RSVP'ed late to this form. See you all tomorrow!
  2. Hello everyone, there is an organization I'm a member of called Soundgirls.org. Started by Karrie Keyes (Pearl Jam) it mentors and networks women and girls into sound. Soundgirls is currently doing an indiegogo fundraiser for their Soundgirls live sound camps. There are a lot of cool gifts for various donation levels. K-tek has generously donated a nice equipment bundle for $690 (savings of $200). Please go check it out and donate if you can. Let's reach out to the next generation. https://igg.me/at/JuAJGN3xJ4w
  3. Looks like I'll make it this year. See you there!
  4. An old mentor and tech teacher of mine, Michael Mroz (RIP), had been a studio tech at Caribou Ranch. He was there the night it burned down. Out of all the studios he worked at that one held a special place in his heart. He never got tired of reminiscing about it.
  5. Now that I've started working again I'm sending in my $70. $10 for each year I've been soaking information of you and everyone else through the various website incarnations and locations!
  6. Thanks for all the info Richard! I like your layout!
  7. I have to agree with Whitney. I thought "Who Needs Sleep" would be more than enough. Had the vote gone the other way the camera guild (with Haskell at the helm) would have been in a strong position to lead the way for the rest of the unions in reforming our work hours. Sara
  8. Hey all, Personally, I like to set up somewhere that doesn't require me to move my cart (or Jeff's:) for each shot! Of course I also like to be out of traffic's way (harm:) yet still be close enough to be able to keep an eye on set for surprises. As far as mixing to picture, when I first started doing location mixing I didn't always get a video tap and found it to be more distracting than the world of pure sound in my headphones (ohhhmmmm...) However, at the same time I wanted tap so I didn't feel so disconnected. Much as I would love to not need tap it is neccessary. Before I did location when I had just started working as a sound restoration editor I was cleaning up some audio (without watching the movie) and feeling I had done a very good job. I proudly called my boss in for a QC. He listens while watching the film and then he turns to me and tells me I need to put the footsteps back in! Lesson learned: How do I know if something I hear belongs in the mix if I don't have picture? Cheers, Sara
  9. If they're not listening on cans and they can't hear what they're doing how are they able to finesse their boom skills? One of the first things I was ever taught was if you can't trust your ears (and this extends to whatever you're monitoring off of) you can't trust your mix. Of course that only works if you listen. And yes many good films have been done with the boom ops not wearing headphones. Personally, working that way voluntarily feels like gambling to me. I'd rather use the tools. Cheers, Sara
  10. Well this ws definately designed for studio. I could easily see this being used on a Pro Tools mix/overdub session (or even an analog session). Unless things have changed drastically since I worked in music, it's probably still not uncommon for a mixer to want to "warm things up" by sending a track through a pre-amp in the mix stage. Especially if it was recorded digitally (i.e. Pro Tools). I remember Fairchilds, Pultecs (w/ old telephone amps) & Universal Audio's LA2A's routinely being used for that. Cheers, Sara
  11. Ferdi, The other thing to keep in mind is that the headphone jack on the camera is (as far as I know) a pre-tape monitor. So in order to make sure everything is okay on the camera you will need to playback the tapes throughout the day (last take or whatever) in order to actually know whether or not you have a problem. I would recommend doing this right after sending tone to the camera in the morning before the first take and then spot check throughout the day. If you decide to use the G2's to transmit to camera you can set them up to have a -20db pad coming out of your mixer. When you send your tone out of your mixer through this pad to the camera you can set your levels on the camera accordingly. This is a neat trick when you're in an environment that may not be consistent with it's levels. It's also an easy way of watching your back. Sara
  12. Ideally (at least in my world) there should always be a stand-alone recorder and any sound elsewhere (ie camera) is the backup for THAT. However, that's my world. In reality, oftentimes when there's a one-person sound team the request (production's desire) is to just record straight to the camera. However, as we all know cameras were not built for sound but for picture. Sound was an afterthought added (in my mind) so the consumer could record family videos at home. That we now consider doing professional work this way doesn't mean the sound recording capabilities of the cameras have drastically improved and are now the equal of our stand-alone machines. While some manufacturer's have improved the sound recording abilities of their cameras that function still remains in the afterthought category. I've heard enough horror stories (and been through some) where the fact that the mixer took it upon themselves to talk production into at least a DAT is what saved the day. So, roll with the doc shoot, accept you are being forced to record audio onto a camera, but ALWAYS record to an alternate source that you have total control over and feed that to the camera. After all, if the camera man switches the input from line>mic or knocks the inputs level settings way up without being aware of it the audio on the camera is most likely toast. Also, make sure you have a slate in there so if you do have to reference your "back-up" your editor will be able to do a head sync instead of having to sync to production sound. They may grumble a bit but just remind them you're doing it for them and most of the time they'll get over it. Also, try and bring an extra pair of comtek headphone or an earbud to plug into the camera's headphone jack. Sometimes you can talk the cameraman into wearing an earbud. He may not be listening the way we do but if a switch gets knocked and the audio is distorting they'll usually notice that. Good luck! Sara
  13. Hey all, Just got a call from Shawn Holden. She was going down the list at 695 and saw my name as another female mixer. So, if we're compiling a list here, let's add her to it. Oddly enough, the two of us ended up having a conversation similair to this thread on the phone! Sara PS: Philip, I hope I get to meet Lori someday too. I've only heard good things about her. Too bad about Rusty, she really seemed to love booming when I spoke with her.
  14. Sorry I forgot a few. Jill Cosh (boom op in Los Angeles) Misty Conn (boom op out of Los Angeles, Pacific Northwest & Texas) I'm not sure which is her current primary residence. Susan Chong (mixer out of Los Angeles I've met at a few 695 functions) Lori Dovi (mixer I've heard of from a few boom ops but haven't met) John Evans added: Gael Segalen (Parisian mixer currently working in NY on "Tiny Dancer") Hope that helps, Sara
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