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Ryan Farber

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About Ryan Farber

  • Birthday 08/23/1991

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    I am an audio engineer, music producer, and location film sound mixer from Philadelphia, PA.

    Currently I work at Sigma Sound Entertainment, a recording studio in Philly. I also co-own and operate HotBox Studios, a project studio where we create multimedia content for music artists in the area. I am finishing up my last year at Temple University where I am majoring in Media Studies and Production.

    I also do freelance location film sound. I have worked on many productions, mostly smaller indie work, DSLR and commercial shoots. Recently, I have been doing a lot of work for Kellogg's and their "Start Stories" campaign.

    I am slowly building up a better kit when funds become available. Right now I rock the SoundDevices 442, and a Tascam DR-40. I have an ME66 and 2 Sennheiser G3s. Not the best equipment, but it gets the job done.

    Anyways, I love doing this, and hope to meet some great people on here and expand my knowledge about the art of film sound.

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  1. I implore you guys to watch the Kellogg's "Start Stories", the production company that filmed all those is the one I am working for and the one I am working with for this gig. If will be in a very similar fashion to the start stories. The problem is that there is hardly any post audio done which makes life very difficult.
  2. Sorry if this was unclear. There is only one talent per car, four cars.
  3. Alex, I am actually very well versed with all the gear I will be using. Also, people must understand my relationship with this production crew. It is a very small crew, and I have worked with them on many gigs. There is hardly post sound. The editor does--to the best of his ability--some work on the sound in post, but very basic editing. They all know the problems with sound, I give them solutions. They are never unreasonable. We are an extremely run-and-gun crew. http://www.kelloggs.com/teamusa/#/teamusa/athletes/jake-kaminski.html Check out that video. I did all the location sound for it. For those with good ears, you could probably tell there are some basic problems with the mix that were totally out of my control because I was not involved in post editing. The conditions we shoot in are very fast paced, documentary style. I am not going to complain, because I can always come through with good audio.
  4. I agree with Mike that they are unreasonable expectations. I thank you for being straightforward with all your answers! However, even with my limited experience, I am going to do to the best of my abilities whatever it takes to get sound. Even if it has to be corrected in post. How bad could it REALLY be? I am also thinking about the big picture. The footage we will be compiling will be chopped up into multiple segments, 15-30 seconds long. I also had an idea for the car scenario--3 zooms + Cub 01 in each car. That way I don't have to meddle with wireless or the crappy Røde mic, and I can just set it and forget it. Welcome to the world of low budget productions. I didn't post here for people to tell me that what I am trying to do is unattainable. Thats not very productive. I came here to get tips on what may work best for the scenarios given all YOUR experience. Sometimes you just have to work with what you have.
  5. Why wouldn't I be able to handle this? I've been working with this production company for a long time, and they trust the work that I do.
  6. There is no budget for 3 other 702s or the like. The best I could probably do is get some Tascam DR40s or Zooms. Good call on the Zaxcom wireless, I will look into that.
  7. Hey Guys! Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs: Equipment: CAMERAS: Canon 5Ds Sony FS700s SOUND: SD 664 CL6 8x Lectro UCR411a 8x Lectro UM400 8x COS11 2x Senny G3s (backup wireless) Senny MKH60 4+ Røde Mics BDS & NP1s There are 2 main setups that I was concerned about: SETUP 1: 4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car. QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I will be in one of the cars) I don't want to rely on the wireless for the primary sound. My solution: Røde mics on each 5D? I know they are not the best quality audio wise, but I don't see any way around it. SETUP 2: 4-8 people in a restaurant for a taste testing scenario. Multiple cameras. I will wire up everyone, but I also wanted to have a boom going for ambience. I won't be able to get it in the shot. ----- The production wanted all ISOs, which is fine, because I have 12 tracks to work with with the CL6. In standard reality (in all your guys experience), does post want a 2-mix primarily or ISOs? I am not the most experienced mixing on the fly, so I would prefer ISOs as well. Just wanted to know how the real people do it. This question may seem dumb, but hey, how do you keep track of 8 people simultaneously?! Keeping consitent levels without auto mix? Wires. To hide or not to hide? Not having to hide the lavs would speed up the production two-fold, and I wouldn't have to worry about clothing shenanigans. Do most reality productions care if the lav is hidden? Should I just ask if they care? Power. How long do you think I will be able to run my bag off of 1 IDX NP-L7S (14.8V/71Wh Lithium Ion)? I am powering 8 UCR411s and my SD 664. I will probably be rolling all day, and I have 4 batts to work with. Any other tips would be greatly appreciated! I have never worked with this many simultaneous tracks before so please let me know the best way to stay on top of everything. -Ryan
  8. Guys. I totally ate it on the skis. My first run down was fine. I haven't skied in over a year so I was really rusty. I didn't get a chance to get re-acclamated to the skis, let alone skiing with a soundbag. On my second run I ended up going so fast I couldn't stop and lost control and wen't flying. My mixer bag acted almost as a cushion for my fall, taking the brunt of the impact. I was fine, but I was more worried about my gear! Snow got everywhere inside my bag. The compartment where my 664's inputs were was completely inundated. The faders were buried. My lectro 411a was covered. Everything was perfectly ok though! That fall truly was a testament to the build quality of the equipment I was using. Thank you SoundDevices and Lectrosonics for making such robust equipment that could even survive my shoddy skiing skills! I would love to try it again sometime (I might have to in Park City in a few days) but I definitely need to reacquaint myself with the ski action.
  9. Is there anyone in the Detroit area willing to rent me a boom pole (6-8ft) for today thru Monday? I would be extremely grateful! Thanks!
  10. Believe it or not, I am in Colorado! Copper Mountain specifically. But yea, my bag is a Petrol Large Deca with a 664, Lectro 411a, BDS, and two mics mounted on the front for stereo ambience stuff. The shot will more or less be a snowboarder going down the mountain with a camera in tow (Sony FS700, 5D) and I will be behind. I wanted to have the boom to get the sound of everything. What do you think? Will the bag be too cumbersome? I have a Tascam DR-40 that I could rig up to have the boom and lectro into, but the preamps are crap, and we might be doing an interview with the snowboarder on the mountain. I might just use the pistol grip instead of the whole boom as well.
  11. Has anyone ever skied down a mountain with a full mixer bag and boom? Any tips?
  12. Thanks for all the suggestions guys I appreciate it! I just ordered some Varizoom Li-Ion Batts, and will probably rent some more. Anyone know how long the the 664 lasts on a single charge from a Varizoom (or similar) S-8056N Batt? As for windcover for the Lavs, I have some Rycote overcovers and the supplied windscreens. I think this in combination with some clever hiding under clothing layers may do the job. Also a comment on the 664. I just got it and have been testing it out and works great. On a first run, the recorded kept cutting out giving me an i/o error of some sort. I was recording to SD, but I don't think I formatted it correctly. Anyone know of any other issues I should be wary about?
  13. Hey Guys! So I have big project coming up that I will be doing a lot of traveling for. I will be OMBing it. The shooting locations will primarily be high-altitude, cold environments, probably mountainous. I will be using a SD 664 for recording. My other gear includes and ME66, 2x Senn G3s with a B6, and TL40 lavs. I will be renting a Rycote zeppelin system as well. Primary cameras will be DSLRs (5d), and a high speed camera as well. The content will be primarily single subject interviews of athletes documentary style. So the interviews will take place indoors and outdoors in a variety of conditions. There may be action shots also of the athletes in their element. My goal is to capture clean, wind free dialogue (obviously), but also capture some nice ambience of the environments we will be shooting in. The production company has an Audio Technica BP4029 Stereo/MS Shotgun that they are going to let me use as well. Anyone have experience with these kinds of microphones? A few questions: -Any ideas on some wireless systems that might perform better under these conditions? I hardly trust my G3s. -Good stereo mic to rent for ambience? -Any tips on keeping the gear working in cold temperatures? -Does cold weather affect the life of NP1-style batteries? I just want to prepare my self as best as possible for this shoot. Anything helps!! Thanks
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