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About rcoronado

  • Birthday 01/01/1

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  1. I have an sfx recording session coming this weekend at a kitesurfing waterpark. There's no dialogue to be captured - only sfx, and I'm primarily just running shotgun rigs, but I'd LOVE to be able to get a mic actually onto the wakeboards to capture some up close water movements. I do have a lectro SMQV bodypack and a countryman b6 that can be used, I just need to be sure to get my mounting and waterproofing 100% correct on that rig before I attempt it. anyone have any experience or advice on this? thanks in advance!
  2. pretty wild tech. I wonder if there's any non first party writing on this yet? I'd love an objective look at this. the sound solution seems....complex.
  3. if it were me, the two primary things I'd be figuring out are drafting placement and exhaust. Also, if you have a second rig, another person holding a boom for passbys, ins and aways and tire noise will be worth its weight in gold. If the exhaust is in the rear, as is typical, I'd cover that with both the MKH50, and the COS11. You really can't cover the exhaust thoroughly enough. I'd place the other COS11 in the engine compartment. I've had excellent results in the past by taping PZM and cub mics to the rear bumper with little to no wind protection, because the vehicle itself acts as the wind barrier while it is in motion. The COS11 should be easy to mount as close to the exhaust as possible while still using the vehicle for drafting. The MKH50 will be trickier, but if the car is going to exceed about 30mph, I'd just mount that one on the bumper or rear wall directly as well. You may get results by hanging a boom over the back of the vehicle and keeping the mic tight, but you'll likely end up with boom pole bumps in that scenario, so I much prefer to just mount directly to the vehicle if possible. In the engine compartment, you'll want to find the air intake, and place the other COS11 in a place that captures that without being in direct contact with the wind. Remember, even in enclosed engine compartments there's considerable air flow, and wind protection isn't the answer there - placement for drafting is. The other major thing I'd be concerned with is mounting technique. dont mess up that paint job! Test your tape, use torn up t shirts as padding where needed, and mount and secure everything very well before the car goes into motion. have fun and good luck!
  4. Really cool podcast. Check out ep 003 with Jimmy Siekza. crazy stories inside. I'm not affiliated, just a fan. http://locationsoundpodcast.libsyn.com/
  5. my theory on this (not only on set, but in post and other situations as well) is because sound is abstract enough that folks outside of the discipline just have their eyes glaze over when they attempt to think about it. you can't show anyone sound on set, and so everyone just kind of puts it out of their minds. Further, most non audio folks don't really know how to trust their ears, or even really what to be listening for. This type of mental distance can quickly lead to a dismissive attitude. I honestly think that (at least in the context of production sound) if we'd communicate more in the context of speech rather than sound, we'd have an easier time getting people onto the same page. IOW, no one really cares if you've got a problem with the sound, but they may care greatly if they've busted the recording of the dialogue. Its really all a matter of framing the work into a context that they higher ups actually care about. An example: "hey there, we caught a noise about 30 seconds into that take" vs "hey there, a cell phone ringing busted our actor's second line in that take" imagine if people took 'noise on the take' as seriously as 'boom in the shot' - I could probably happen if it was more like 'noise over the actor's line' in their heads.
  6. from a post perspective, wild lines are always welcome - especially if you KNOW your production sound was cut in challenging situations. the hardest part is generally just getting access to the actors for long enough to do the actual recording, but if you can do that you'll very likely save someone's ass down the line. that said, best practice is to NOT cut wild lines in a dramatically different environment from the set. IOW, if they're outside but near the sea, move over to a different spot far enough away from the surf noise that the takes are going to be usable and cut the lines there. the point is not to get a 'booth' sound, but instead to get a sound that can be intercut seamlessly with actual production sound.
  7. My .02 - I deleted facebook years ago and have reaped great personal rewards from that decision despite the fact that I clearly do miss out on some useful conversations that go on in that forum. While I broadly agree with the sentiment that facebook is at a minimum negligent with its use of data and is malicious in its collection of it, I recognize that this argument isn't salient to manufacturers as they seek to engage with users and potential customers. So, to the manufacturers I'd argue that you still reap greater rewards by being your own platform because you cede control of a lot of very important aspects of your brand and interactions when you outsource those interactions to ANY third party (inclusive of this site). Specifically, you cede control of the url, the look, the other things on the page simultaneously, the presence and content of competitive advertising, and the user data and info itself. Given how easy and inexpensive it is to build a robust forum and chat interface into any site, thats a LOT to be giving up. This isn't to say you shouldn't or couldn't have a presence on third party platforms, but rather to say that this presence should generally be geared towards directing users and potential customers to the web interactions that your company designs and controls. If a user hits you up on facebook or twitter with a support question, IMO you should immediately be replying with a link that pulls them OFF of that platform and into your own ecosystem. Sure this takes more resources, but in the context of tracking and responding to things on social media as the alternative, its not that much more. for a good case study in this approach, check out asoundeffect.com. Asbjoern really does a good job of building a running a pretty big platform with a clear vision and a toolbox of off the shelf software tools.
  8. seems like that would take some degree of machine - learning to get it actually happening. IOW, the algorithm would have to be able to identify on-mic vs incidental by some combination of loudness, reverberation and frequency content, but it would clearly not be as simple as just setting thresholds because it would require context to discern what's what. I know iZotope has some machine learning programmed into their dialogue isolate and de-rustle modules these days. Seems like it could eventually be do-able, but it also seems like technologically its a pretty tough nut to crack.
  9. Hey Mike, i'd love to hear some specific feedback about the tech and challenges you face that I can send back in their direction. I'm of the opinion that we don't get to have enough cross-discipline conversations, and we'd all benefit from knowing more about what's happening both upstream and downstream in the production process.
  10. Hi all, We recently recorded a dialogue editing episode of our podcast, tonebenders, with some pretty big names in the biz. We talk a bit about what these editors wish the production sound folks knew about their workflows, and got into the weeds with what happens with your tracks once they come to the edit room. I figured that would be of interest here. tonebenders ep 75 thanks! -Rene
  11. I've heard of a few voicover projects where 96k was specified specifically because the plan was to do sound design style processing and pitch shifting to several of the characters as a whole. That seems like the only reason to run 96k on set as well.
  12. dude, that's pretty impressive! how did you go about implementation in the mix?
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