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Fred Salles

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About Fred Salles

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    Hero Member
  • Birthday 03/18/1970

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    Sound Recordist for more than 20 years, with a strong taste in documentaries.
    Based in Marseille - France
    Half based in Nairobi - Kenya
    French and English speaking
  • Interested in Sound for Picture

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  1. Hello. Where to buy some Canare L-4E5C starquad cable in LA? (Bare) For a friend in Rwanda whose producer leaves from LA very soon and need to bring the cables along to Kigali (so pretty urgent) 🙂 thanks
  2. Thanks Jim, the Tenba Roadie air case roller 21 is a direct contender for the Think tank international. It is sold as having an “indestructible layered wall construction” so that if you end up having to register it, the case will sustain the strain. big plus for them on the paper. It has slightly less space and convenience, and they don’t mention if the parts are user replaceable like Think Tank does and that I like a lot... choice choice choice.... 😉
  3. Thank you all for the valuable inputs! These Nanuk looks nice actually I like what seems to be a flat bottom design as opposed to the bottom of the Pelicase. I wonder if they cheaper than the Peli... Henri where do you buy them since you re in Switzerland? Here the Peli Air 1535 is obviously more expensive than in USA (got a quote at 340€, which is just slightly less than what I paid for my much bigger peli air 1615...). Thanks Valentine and Chris, the Think Tank rolling bags do offer me a complete new perspective I did not think of (like no more need for extra bag). Would they be strong enough to sustain a fair amount of weight stacked on top if when packed in the car after arrival :-)?
  4. Hi, I travel often by plane and want to get a better case to carry my mikes, recorder and all small fragile stuff that I want with me at all time. I am thinking of getting the Pelicase AIR 1535. It seems the dimensions should be accepted by most flight companies, and it has wheels! Anyone using it for that purpose? Any other suggestions welcome. Have a great new decade! Best Fred
  5. I would recommend the Beyer DT880 pro. It is a semi open with a very good space reproduction, extremely confortable, and pretty accurate on the whole range. I prefer it over the open DT990 both for sound quality and the fact that it is not totally open so you don’t hear yourself scratching your feet but still the space reproduction has the quality of an open headphone. Basically the DT880pro got rid of what I considered flaws in the DT770 and DT990. I started working for film with the venerable DT48 😂 then switched to the sennheiser HD25 on set ever since but no way I can wear it for more than 30 continuous minutes anymore. I do sound editing for film and music, music composing and even music premix with the DT880pro, all my studio work actually.
  6. Boom Apple Box made in Zanzibar !
  7. Sound cart used for tanzanian feature film Vuta N'Kuvute. Gear: preamp= SQN 4s - recorder= Sound Devices 688+SL6+CL12 - SL6 hosts 3x Wysicom MCR42 - power manager= DCA Mentor
  8. Thanks Olle and Jez for your inputs. After wrap of the shoot I tried to get as much material i could in a very limited time, mostly wild of everyday life in rural area that could have been the same in the 50s city (man and cow pulled carts, water pit, children games and songs, nature landscape etc...) hoping post would be able to construct semi urban credible soundscapes. Jez I am from Marseille and live between Marseille, Cape town and Nairobi.
  9. Hello, I am currently doing production sound for a indie feature set in the fifties in an African city. Obviously we struggling to avoid plane, (chinese) motorbikes, modern cars, AC fans, water pumps, amplified call for prayer, to mention only the quotidian ones... I do not think I will get a chance to record enough stereo ambient sound as I usually do because of these issues. I have a fairly number of years of experience in film but this is my first non contemporary era film. So my question is can we rely on post only to re-create ambient sounds, assembling isolated sounds, to get credible soundscapes for the diverse scenes set in town? What are the standard practices for past era film sound design? Any tips welcome. Thanks PS: no we do not have contact with post production team as they are not on board yet.
  10. You are probably right. Sorry did not mean no offence here. I think in these days it is as important to name files correctly as in the mag days, there is so much pressure on DIT and assistant editors that they always go for the easiest way and get confused as soon as something looks wrong. They are overflowed with files and data so the clearer the better.
  11. I hear you. So why name files at all then? As long as they are in the right day folder you could name them wtf-T03 to T120 it won’t bother the editors is that what you mean?
  12. I agree with this one but for instance on the shoot I am on currently the camera department forced the young guy 3d ac who was doing the slate to name it their way, overpassing the script supervisor call... and instead of incrementing the take and add pu -as Jeff suggested- they insist on adding pu on the name of the previous take. So after a full take 3 they will have a take 3 pickup. Which does not make sense to me and makes it tricky to apply on SD machines. But I encountered this way before. Anyway, I spend time explaining my reasons to the dop , even showing him the take list on wingman and he seemed to understood. I guess he rather change his mind than having to wait for me renaming files 😂 So we do it my way now (the continuity girl way as well). Don’t know how long it will last throughout the shoot though.
  13. Hello on set today yet another debate about the naming of the slate for pick-up takes... Not the first nor the last I am pretty sure, especially when working with newcomers continuity person. There seems to be 2 schools of thought: The ones who name it scene/shot/take pickup (like scene 100 shot 2 take 3 pickup after a 100/02/T03 take. Then onward 100/02/ take 4 pickup...). The other ones -including myself - who prefers to name it scene/shot/pickup/take (starting from take 1) as the point is to do a pickup of the shot, not of the take, so take number of the pickup can start from 1 (So scene 100 shot 2 pickup take 01) and increments normally if needed. As Sound Devices recorders do not allow to name take but only scenes I always try to push towards this last way and most continuity persons agree. But there is often a debate about it. So my file would be named 100-02pu-T01.wav Choosing the 100-02-T03pu way is putting me in the obligation of putting in the notes the way the slate was named which is frustrating and time consuming, but also does not make sense imho. What are your ways and opinions about it ?
  14. Fred Salles


    Yes they were also very responsive.. I really like the fact that you can check the files remotely from an Ipad or phone. Sounds like an investment to think about for me.
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