jgbsound

Howdy everyone, Soooo, I'm still working on that WWII movie and am pretty close to completing. however, I just hit a scene with some extreme closeups and I can hear the camera's motor/film sound pretty well. I seem to remember back in film school they used a blimp/barney to dampen the sound but I'm pretty sure they didn't use one on the shoot. I've created (more like hacked together) some Room Tone so I can cut in and out between dialog bits, but it feels clunky. Then I got thinking about it more and was wondering what the big post guys do when they want to remove the camera's mechanical sound? Short of ADR which I suspect the director would probably not be into because the performances are really good -- plus there's nothing really wrong with the sound other than the camera sound. I did try some BNR (iZotope's RX5) and that helped a little. I don't normally edit films shot on film so this is new to me. Any suggestions would be greatly appreciated!

Thanks Jez, I found him! It's Greg Burmann and here's what he had to say about recording the sound of guns: I recorded most of the fx used on Thin Red Line, but not the live round105mm. If your recording for a feature, then I used lots of mics, and lotsof tracksThis is what I did that worked bestI used a Nagra 4S, and a Sony PCM800 8 track recorder.1 I put 2 dynamics (EV RE20, and EV667) about 3 metres from the weapon. 1mic (A) abeam the weapon pointed at the end of the barel, and Y corded that,via a 20dB pad, into the Nagra, and the Sony PCM800 track 3 (with the Sonyinput levels set to LINE level). The other mic (B) pointed at the weaponfrom behind , and Y corded that, via a 20dB pad, into the Nagra, and theSony PCM800 track 4 (with the Sony input levels set to LINE level)2 A stereo pain about 15 meters abeam of the weapon, into Sony track 5and 63 2 shotgun mics about 100 - 150 meters away, but each in a differentlocation (We recorded near a rock cliff in an disused quarry, so 1 shotgunwas near the cliff, the other behind the weapon, and angles to AVOID as muchof the cliff echo as possible4 I set the Nagra levels for a slight amound of tape saturation, themeter JUST hit top stick, but no more (I wanted the fx to be reasonablyclean, not too crunchy)5 Jam sync both machines, or log the start timecodes, so thet the Nagratapes can be dubbed to Sony tracks 1 & 2 in post-production. The soundeditor can then pull all the tracks into sync (or leave them out of sync),and by a simple mix, can set the perspective of the fx. I think that most shotgun mics would distort badly close to the weapon, so for the close-up mics, use mics that can handle the levels Have fun, firing a Tommy gun is fun!!! Regards Greg

Hi Everybody! I'm working on an indie WWII short movie (40 minutes) post mix and have quite a few gun, rifle, and munitions SFX involved. I was hoping to create a rear channel slap back echo to mimic what you'd hear if you were in a canyon say and the sound trails off into the distance. I tried simply running it through Altiverb and editing out the beginning of the clip, then mapping the reverb tail to the back channel, and it worked (sort of). It sounded okay, but I'm pretty sure it could be better. Then I tried switching it up and tried used Space, then ReVibe (which did get it closer but still not satisfying) Does anyone have any suggestions/ideas on how best to achieve this sound? I wonder how do the big guys do it? It's a single shot to the head, execution style. I was planning to have a startled flock of birds fly off afterwards! I do have a DPA 5100 and could record the sfx myself, if need be. But I'd need to travel to the mountains to do it and find myself a luger since this guy is a WWII buff and would only want an authentic sound. Just hoping I can create something digitally. War is hell but editing the SFX is pretty friggin' fun! Thanks in advance! John

Hey Mark, which reverb do do you use for your ADR matching?

This is true. I have iZotope's EQ match in RX5 advanced and it simply learns the envelope and applies it often causing unwanted problems. I finally gave up on using it. I'll look at the app you mentioned Phil. Ultimately I'd just like a starting point to perform my own EQ tweaks. I do all my EQing in automation anyways so it's flexible. Amazing how one day I can really like my EQing and the next I change it again.

I totally agree Phil. I was mainly interested in the "differencing" of the EQ settings as a reference, more so than having a plugin magically fixing my EQ/compression issues. What I'd prefer is a software that gave me the comparison and allowed me to apply the EQ accordingly and tweak as I see fit, rather than just applying an algorithm to "fix" my problematic areas. I thought was that this plugin appeared pretty comprehensive in the way that it could allow you to "learn" and apply it elsewhere to fix certain issues. Mainly the DeEssing and adjusting for different recording feeds (Since I did a fair bit of ADR in this mix). If you know of a software that just analyzes an area and reports a suggested change (EQ-wise) I'd love to know about it. That's my ultimate goal. John

Hey Jack! Just checked out Pro Audio's DSP Dynamic Spectrum Mapper (I watched the video anyway). That's really impressive. I'm going to download the trial and try it out! Thanks for the recommendation. John

I was able to achieve more stable video playback when I upgraded my video card to a Quadro M4000. It complains less and only once in a while gives me the Unable to stop message. Two things seem to really help: Turn on pre-roll and set a pre-roll time interval for even just a tiny bit. Changing the setting for video latency to a longer setting seems to help too.

An update: YES, it's pretty damned easy to do apparently. Here's what you do: Email permissions@apple.com Here's what I sent them:

I called him but he hasn't called back yet. I'll report back once I've talked to him.

I was looking around and found this posting. I think I know how to proceed (coincidentally, my brother is an Apple Lawyer! AaahhHa!!!). Thanks Ken! https://www.gearslutz.com/board/post-production-forum/902119-use-cellphone-sounds-film-tv.html

Hey does anyone know the legal issues with using iphone sounds on a feature? I have a fair amount of characters who are using iPhones in this film and I was hunting around for royalty free SFX to fill in the "text received", text sent, ring tone, picture snapshot sound, etc and was wondering about using apple's stock sounds straight from the phone? Are there legal issues with doing this? Thanks for any advice, John

I just got an update from the guys over at Gotham about my order... Glenn was just hear (sic) and confirmed the same thing! The hardware is ready to go Howie is just plugging away on the software! Could start seeing them in the next week or 2. Nick Huston Gotham Sound NYC

Oh that's reassuring. I have two older 900LTs that are in Block 26, that will need to be reblocked once that range goes away.

There's no doubt in my mind that high density wireless makes perfect sense and could quite possibly become the standard moving forward, considering how quickly the spectrum is being gobbled up and sold off to the highest bidder. My only hope is that if a particular frequency range is no longer available to us, Zaxcom and Lectrosonics will offer a reasonable "retooling" rate to set our transmitter/receivers to the newest "flavor of the month" frequency range so we don't have to continually repurchase the same gear again and again. John

Ugh. Seriously expensive. Now we're getting up into Cantor Territory.

I bought one a few months back (well maybe more than a few) and it's got pretty damned decent analog pres. I've been using it alongside my Fusion 12 to record 5.1 ambiences for documentary shoots. So far, no complaints. One of the only drawbacks is that it doesn't remember panning settings on playback. It would be nice if the mixer could embed the pan settings for playback into the metadata for the polyfile. Not that this is a total non starter, considering that the crown knob adjuster allows for very quick adjustments from the main screen. I'm impressed.

Not to change the subject but does anyone have an idea how much the Deva 24 is going to list for?

I bought the LA series so I am getting the ones with the 100mw. Thanks for the clarification. J

Excellent! Weird, I though the guy at Gotham said they only had two flavors of mw output; 25 & 50. Hmmmmm perhaps I misunderstood. I should really read up on specs. This is getting better by the day! Thanks! John

This is all good news. I'm itching to get my hands on those transmitters. Gotham told me it'd be about a month before Zaxcom starts shipping. Just a question Jose: For that range (~1000 feet) were you transmitting at 25mw or 50? (I'm assuming the higher mw output). John

Hi zgoheen, I'd be interested in knowing which black magic I/O card you're using? I've also been toying with updating my system to the new Quadro M4000 so I have at least 3 screens (one for timeline, one for control panels, and one for video playback). Thanks!

UPDATE: I was able to solve it by turning on PreRoll. Not ideal but better than frequent quits of the App. Annoying. :-/

That's the weird thing. When the error occurs, the video actually stops, (but claims it's unable to stop???). If I hit the space bar, nothing happens. It pauses for about 5-10 seconds then gives that error message. Furthermore, because the connection to AVID video engine is messed up, I can't click anywhere else into the timeline or it complains again. My solution: Just save the project and close out ProTools. It comes right back functioning correctly so I'm sure it's just some weird video issue. Now that I think about it, I am using an older video card (GTX580) which is not an AVID approved card. Perhaps its something to do with the GTX driver's compatibility. UGH. I will probably have to upgrade my card to that new Quadro M4000 soon just to rule out this issue. Even stranger, this just started happening. I'm guessing something has changed, unbeknownst to me, in my system that's affecting video playback performance. J

If I hit the space bar, it tries to plays my accidental "micro selection", but then the system freezes for about 5 seconds, and then displays the "Video Engine Unable to Stop" After that, it seems to have lost connection with either the video reference link or the video engine cannot reestablish normal playback. I think I know this because if I click elsewhere on the timeline, after the first error message, the same delay occurs and "Video Engine unable to stop" comes up again. I just save my project, close ProTools, relaunch, and everything returns to normal. John