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Den Nic

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Everything posted by Den Nic

  1. Well if someone can delete this topic I wouldn't mind now that I know where I should be posting further comments on the subject.
  2. I just saw Les Misérables and it was phenominal. I congratulate Simon Hayes (AMPS) and his sound team for the amazing production sound in the movie, without which the brillant performaces and music heard in the movie would not be possible. Congratulations of course go to all involved in making the film, but the sound team deserves special praise to what they gave to that movie! If you work in production sound, you definitely need to see the movie
  3. Diagram? Anybody have a manikin lying around? lol
  4. I'm not anything with it lol Like I said was just curious, and ya the 44.1 only wouldn't work. R24 is not much more and does do 48 though. I'm thinking it would be a handy little piece to have if you every do something like a musical recording whilst doing the sound, or something, who knows aha.
  5. Hey Guys, I know you all with cringe at the site of this on jwsound, but I'm CURIOUS if anyone has tried out the Zoom R16 as a recorder for low budget film making? (Ether On It's Own or with Boom Recorder?). http://www.sweetwater.com/store/detail/R16/ I realize it's a plastic piece of cheap recorder but it would have it's uses.
  6. Everyone is talking crap rate, anybody here any numbers? What would be a 'good' rate y'all think for those conditions/etc.?
  7. Hey Everybody, I recall my post a while back about TNG audio and there seemed to be a lot of Trekies on the form. I recently completed my own Star Trek styled TV opening, which is now on my website at http://dennisnichols...io%20Video.html It's the first song on the right called 'Trek Through The Stars'. Check it out and let me know what y'all think. One day I hope they make a new Star Trek TV series, which seems like a strong possibility if when J.J. Abram's Star Trek 2 makes another big impact and wave of Star Trek demand. Cheers!!
  8. Hey Guys, Just a quick question, I have been reading about on set music playback in the forms, and I couldn't find how exactly to make a Timecode Audio Track in Pro Tools. What do you guys use to generate that audio? Third Party plug in? In Pro Tools method? Standard audio files that you use over and over? (I have PT9 on a iMac.) Thanks guys
  9. Hey guys, Just wondering how different people charge for Post Production services? (And Also so Musical Composing services) (At home people, projects studios, studios, etc.) Anybody do a black$/min fee? A general estimated based on the amount of time you estimate it will take? Hourly work? Think it is better to separate the music and audio component on the invoice? Any input would be appreciated Thanks Guys
  10. If they're not putting the money into the sound department for what they are asking for, such as a wireless scratch track, then they won't get it. If you can run a cable to it without hassle, great, if they want something more, let 'em folk over the dough. Whenever I work with Scarlett/Epic and they want sound, I say I can provide XLRs and they must provide the cable to get that into the camera. Dumby slate with no camera track has been synced up a million times over with no problems
  11. Amazing, the blogs made me feel like I was part of it, really glad they did this.
  12. Also, the point of this slate was where the low budget productions had failed to provide/bring one (It's becoming increasingly common due to ipad alternatives, Plural Eyes, laziness), so I would bring mine, hence the editor actually having a slate to go off of instead of 'oh we'll just use plural eyes etc etc' and hating everybody in production, so yes it'd be my slate and it'll have my name filled in for the Sound section. It's a little bit of ego, little bit of practicality, and a little bit of pride in your work. IMO
  13. Thanks for the links, especially Pulsar's link
  14. I have done corporate videos going into the camera of a Scarlett, which is very similar to the Epic. The output of the device is heavily delayed, which is extremely distracting to listen to when monitoring from the device , As you SHOULD be doing when going into camera, however: The camera does not play back audio upon video playback (That one didn't anyway) so I ended up only monitoring from my H1 backup [usually my primary in my small it] (I was feeding the Scarlet with XLRs which were attenuated and the H1 with the tape out which was not) and told them that I would give the camera proper audio, but because I could not verify that it was there on playback ( so I didn't REALLY know if it was getting onto the camera at all even though the meters were going), that I would monitor my H1 and give them those files in case the camera's audio was in fact not recording. It was recording and the audio they used was from it (which they were happy with), but if it wasn't on there they had the backup which I KNEW was clean. My advice, use an H1 out of the tape out for a simultaneous back up. For your direct question: attenuate the 302 and the Epic levels to get your tone where it needs to be, read the manuals to be able to do this, and monitor from the camera always (even if it is delayed). Let us know how it goes. Good Luck. Also: Is that how the show usually works? Why don't you ask the Main Sound Mixer how he does it?
  15. Anybody know of any manufacturer who makes a whiteboard slate that has a 'Sound' section for the name of the sound mixer along the the Directer and Camera Op? I was thinking I would be well served by having a dumb slate with me as it is frustrating how many camera people and productions claim they don't need one (or don't own one for whatever reason), so I thought I'd get one where I could put my name on it. Or maybe a manufacture that makes them custom ordered? Suggestions?
  16. Thanks for the replies. I'm actually quite surprised as to how many of you says that someone else us usually doing the wiring as I thought that was one of the main skills and responsibilites of the Sound Mixer in a 2 or 3 + sound team. I thought that the many years the Sound Mixer has worked would make them the one who does the lav micing (which takes years to get really good at) versus the Sound Assistant doing a very critial job whilst being the least experienced on the team? It seems that starting a Sound Assistant out on lav micing is a big reponsibiliy to take on in the 3rd position (and lowest pay); Is that only once the mixer has trained the assistant in their techniques and what they need and has proved that? How would an Assistant 'move up the ranks' if their first job is lav micing? (a skill that even the mst epxerience have diffculties with from time to time). Also if you have the Boom Op on set and the Sound Assistant lav micing, what is the main responsibility(s) of the Sound mixer?
  17. Hey guys, just curious as to how different people operates their sound team on narrative Film/TV. This came out of a Sound Assistant call with the union I got on Degrassi which had the Sound Assistant lav micing actors all day (I don't know if it was any/all actors or just guests), which I thought was odd (Since lav micing is a lifetime of work to master, hence I would think that would be the mixers job). Just a short outline of your team positions and responsibility in very brief terms would be great Oh, and the type of gig you're listing it for (Or exact show if you feel like sharing). Thanks guys, much appreciated!
  18. What Mic(s) were you and the other boom op using in that video if you don't mind saying?
  19. From the Zaxcom page about Zaxnet: "Wireless Distribution of Scene and Take metadata for automatic display on digital-slates When the clapper is actuated, compatible slates will display the Scene and Take metadata along with timecode and user-bits as entered into the Deva/Fusion." What slates do this currently? Anyone know? Glen? Would this work for the Nomad as well?
  20. A smart slate that jam from Zaxnet would be awesome. If they integrate the same tech the new Zaxcom IFBs use to display TC then it could be a really great addition to the Zaxcom line. No jamming TC all the time, and no extra box for your bag (like the TC buddy) to transmit wireless TC.
  21. Awesome! Anyone know what kind of mic he's using?
  22. Just curious, how many Mixers wish for their booms to go for the mouth and how many want to go for the chest? Let me know your thoughts!'
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