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Bondelev

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Everything posted by Bondelev

  1. I'm going to ignore the idiotic turn this thread has taken and try to add some useful perspective from my own life. When I got out of school, I did both production and post for the first three or four years, simply because I needed to pay the bills. It became obvious quickly where both my talents and desires lay (post). Even in post, we were told FOREVER that you cannot be both a sound editor and a post mixer. It was only fairly recently (in the grand scheme) that they stopped being two different unions with two sets of dues, so most people chose one or the other, sound editing or mixing. With the advent of digital sound and cheaper studios, it became more possible to do both on small projects. But on top of that, Hollywood is based on an assembly-line system. If I were to do production sound on a feature, I would have a few weeks (or more) of work, but then wait MONTHS while they cut picture before I get into post sound. Most people cannot afford to be unemployed that long, so they will take another gig (or two or three), and it will get pushed back and on top of your post schedule, so you will piss somebody off by bailing, maybe even in mid-film. Same thing in post (between editing sound and mixing). The assembly line usually results in me mixing reel one while the sound editor is still preparing reel two (or I am editing reel two while someone else is mixing reel one). Most shows have air dates or release dates written in stone which makes it impossible to do both editing and mixing on a short turnaround. In fact I can only think of a handful of times I have done both on a single show, and my credits are almost evenly split between editing and mixing. Of course when you get outside of the Hollywood system, it becomes easier. Lucas could afford to keep Gary Rydstrom on a salary all year long working on only one film. Murch worked with Coppola, who, like Lucas, left LA to avoid that assembly line. Or, if you are in a small studio doing mostly local work, your schedule is often such that you can do everything, but it's not the typical Hollywood way. In any case, you will probably end up choosing either production or post if you wind up in Hollywood. I often point out to my students that people in the two areas tend to have very different personality traits. I know it's somewhat of a stereotype, but production people tend to be outdoorsy types who like working in large groups. Post people, like myself, prefer being alone (or in a small group) in a dark room all day long. In many ways they are almost opposite. Good luck, and I hope you find yourself.
  2. Students do not get screeners, but they do get the Quarterly, which is worth the $35 alone.
  3. As a post mixer I prefer NR done by a specialist AFTER dialogue editing but before the stage. I also want a version without the NR. In case I can make it work without it. There is always a balance between how much noise is allowable versus how much aliasing you can hear on the processed tracks. It's hard to judge until you have all the elements in place.
  4. Totally agree. The Aeron works great for me because I need the lower back support it provides or I get backaches, and the mesh means I don't sweat as much when working. Another hint is, if you are not going to stand up, make sure your chair is higher than the desk, you do not want your wrists resting directly on the sharp edge of the desk. You want the blood flowing freely down into your hands, and no pinched nerves. It takes some getting used it having your chair higher than your desk but it works wonders.
  5. Only on this forum could you ask a question about the working methods of one of the greats in the field and get a direct response within days.
  6. I will always think of it as Coffey Sound as well. It was fun running into you at NAB, and I hope that some day I will get a chance for you to teach me a few things about playing poker! More importantly, I hope the best for you and your future, you are one of the best of the best.
  7. My understanding is that Disney decided that keeping people on payroll for TV was not worth it, so they are transitioning all of the TV post crews to on call.
  8. Gert Frobe was an unknown in the US when Goldfinger was released. Bardem is an Oscar-winning actor, and probably has it in his contract that he cannot be re-voiced without his approval. Also the director is pretty well known as hating ADR.
  9. I did not work on Skyfall but heard from the sound crew that Bardem's accent is very thick, and he was wearing a dental appliance throughout the film, making it worse. Apparently his ADR performance was not as good and they were stuck with the lav.
  10. Although the CPTK is being discontinued, if you had it, you can upgrade to PT 11 HD and run it on any system, without their hardware. Also, you can run 10 and 11 on the same system, so if you really need some old plugins you can open in 10 and print the effect to disc.
  11. +1 OWC on the go. Great drives, never had a problem. Of course my work is not in the field, but I have had LaCie drives fail.
  12. Most US recordings from before 1927 would be public domain in the US, but you have to be careful, there are ways to "adapt" older recordings and re-secure copyright. It's best to run it by a copyright lawyer first.
  13. Correct, it varies drastically by network. NatGeo International has the most stringent requirements on splits that I have seen, including "no production sound in the center channel" (I wish I was making this up; they want only VO in the center). PBS has the least stringent (probably because they do not distribute internationally directly). I have never been asked for a filled M&E on a doc for anyone, ever. You may be asked for splits long after turnover, as they may find additional distribution at a later date, or they may be needed for reedits. It's not any more work for me to create them, it's just a more complicated signal path. So I make them anyway. As for FX, it depends on the style of the show, generally I add BGs more than FX to smooth the production track. But some shows are very demanding for FX. Spot with the clients, and let them know if it seems as though their expectations are not realistic within your budget.
  14. Marc is correct. They will want splits and a "minus VO" version. They will want the minus VO version to without the music dips, so be sure to set up your mix so that it is easy to remove those. A friend recommended to me a smart choice, create a separate master fader for those moves so you can simply turn off the automation.
  15. http://www.amphenol.info/subseries/circular-connectors/C-091-A-Screw-Interlock/21.html
  16. If you want to keep using the h4, i would recommend you just buy an external mike. The Rode NT4 is a nice stereo option for recording rehearsals.
  17. 7.1. BluRay, HD, 52 inch screen. I don't understand people who work in this industry who don't get great systems at home. I need to hear film and TV in its best enviroment if I want to remain competitive in my field. But then I work in post.
  18. Well, he proves he knows nothing about sound. He doesn't even understand the category distinctions.
  19. Funny, I just went through this in class and pointed out that speed is no longer a relevant term, but that they would be honoring the history of the craft If they continued using it. The students looked at me like I am an idiot. I get that a lot.
  20. Why steer people away form this site, especially to vastly inferior ones? I learn from these questions and answers.
  21. It was great seeing everyone! Sorry I had to leave so soon. See you at the show tomorrow!
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