James Louis

Thanks Mattias, I spoke to an Izotope rep, and he thought I should get good results as well-sigh of relief that even he recommended the full band denoiser. I'd spring for it. I'll A/B with the advanced version and the dialog denoiser in order to see if it really weighs in with a better result. (Also, the dereverb - and maybe even pitch - will probably help it to analyze the background as well as cut better with VO dialog.) And I'd be happy to share a file with you here in the city. In the least, let me spot us a bite and touch base. It helps me to know a good dialog editor. Cheers, J

Oh Senator, you're such a stinker sometimes and I love you. I hope you are not that hard on yourself when you make mistakes. "Too expensive for my own budget" I should say. Maybe you've read Ayn Rand too many times, but some of us don't have much money and life is not fair. So what does it say about you that you are kicking me while I'm lifeless in the dirt? If you could be any less pragmatic in your answers, not to mention your attempt at hijacking the topic, I would flag you for trolling. By "obsessively playing back," I mean confirming that it sounded good in my RETURN (as well as the phone outs of the recorder) and not taking that for granted. Not, "obsessively changing things trying to fix something that was odd but never getting it just right." No, truly, I like substance, and most likely I'll pay for some resemblance of it-unfortunately ex ante this time. And no, laptop speakers are not my monitors. They are unfortunately the first impression for many consumers and clients. I have the HS80m's and the 10w. Shoot me for not affording Adams. With your logic, it must be because my monitors are more stylish. I genuinely praise your input and always check your related threads, so were good.

Cheers for that Mattias, Still, if it ends up being too expensive, maybe I'll hire you or rent your workstation? I'm also seeing that the standard version does have a single band denoiser. I'd have to analyze it further, but if its just the pre-amps on the recorder, then maybe the problem is consistent enough for me to tackle on my own with the version that I can afford. J

Do you think I could throw RX3 at this problem? And am I springing for the dialog denoiser in the advanced package? I like to think my editors don't have to touch my product, so I've utterly fallen out of the nest as to what I can do - eqs, filters, destructive plugins - and what is best left alone. I just came from a shoot having calibrated my mixer to clipping level on the recorder, sending tone and adjusting, and checking my playbacks obsessively (Sounded like I was in the same room hearing the lines for myself, only drier than even monitoring my channels. Good sign, I thought. But once that Red Epic whirls up again...) only to find little piss puttering waves when I got back to my editor. (Would you believe as quoted from the engineers with the mixer manufacturer, the SD card might be the culprit? Or maybe it's the rudimentary visual input increments on the Tascam DR-40? Or maybe it is me ever foolishly concluding that I actually know what I'm doing.) The dialog sounds good, and it's all there. But gain brings a consistent noise floor along with it. (Insert expletive and heart palpitations, midnight mumbling and pacing here.) I can get about 7db gain before the constant background becomes onerous. And I want this to sound good out of laptop speakers. Here's a follow up: is there anything you cannot do in the plug-in version? Does the denoiser work in-line in a DAW or just the stand-alone version? Because I bet I could get this job done within the 10 days they offer as a fully functioning plug-in. In the meantime, I'll read up and see if I can contribute to these answers for the community.

Happy to report that I have incorporated EVERYONE's advice into the second draft, including the consensus on John's advice. And doing that alone made it fit into a single side page. Thanks for your replies, AFMYs, Whitney, Dan, and Allen-good to meet you. Ah, just seeing Senator's consolidate projects advice. Will need to sort things to my advantage.... Target is unified into booming, ideally on a team. I labeled the CV itself, top center, so folks know it's for a crew call. (No reason this should exclude Utility work, but needs to be phrased appropriately) Bio Slashed, put in 1st-person and changed to SUMMARY: (I think it's generally a good idea to offer for those who prefer easy reading) Gear list off, kept link Moved Social Profiles to the bottom Credits moved up For those jobs that were one-man-band, I described myself as Sound Recordist. Do you associate that more with field recording? Even if folks think of you as a boom, what is the general custom to title this? J

James Levine is already taken btw. Not by the frizzy haired conductor (I've got the frizzy hair covered thank you very much). I suspect by the illustrative and industrious James the VI. I can only wish that folks confuse me for him, or that I might work under his auspices.

Oh yeah, thanks! I bet a lot of these workshops would be helpful-I see that the RF seminar is also near pro-sound up by all the unions. And there's one this Tuesday-thanks for the tip! I wonder if there's a similar offering on all-things-clock? For a roving boom operator, sure. Definitely within NYC expectations. For a full crew, I certainly hope this is not true. But it wouldn't surprise me. I've had to send dailies to west coast editors on the other hand, and without even asking for it, I feel a more proper need to deliver a well-documented product. I don't know what you feel about this-it's a different topic-but for continued relationships with an editor, I'd like to learn the clip label/marker shortcuts and proper tagging conventions in final cut, even if I rarely have to use them. In my case it could create more equitably distributed work, particularly on the small stuff where a director might be negotiating the salary for me too, and doing the editing. Yes, Calandro, biographies are awkwardly and customarily written in the 3rd person. I think the balance will be making sure that it's informative and not just tooting the horn. Generally helps if they need to be referenced in other contexts. Thanks John, good to meet you. We already concluded that the bio's going to be chopped. I disagree with you on the targets. I think they are compatible and not nearly as divergent as in your example. Recording dialog for non-linear narrative, finding work that I can handle on my own, working on a larger crew. All doable and consistent by the same person-but yes, the dialog recording for games would be the odd duck-I do have a separate resume geared for that. And I will consider taking out the gear list-only that "the car I drive" is applicable if I am offering services as a private taxi service, in my opinion, and in my case I believe that it reflects some good quality standards. Cheers for chiming in!

Roger that, MM-pretty easy to slash the first two paragraphs and make the streamline the phrasing. Maybe I'll put the background interest on the imdb page as that profile progressively becomes more useful. At this stage, it's almost a strike against me to even link to it, but people need to see it. Thanks V, ah you mean my profile on here. It's the next button I'll press. Good thinking. I'm going to have to do some homework as to what you mean by RF seminars-yes I've done some A/V and network tech for some events, if that's what you are referring to. Agreed, it's great to have these important showrooms and rental spots right here in the city-it does give me a chance to hobnob! Good to meet you

Hi! I usually make myself known on the boards here when I'm cramming for another gig, which does happen from time to time. I'm rather new to this and nonetheless have the utmost curiosity and respect for the craft and standards of professionalism. I just wanted to more deliberately introduce myself, and to mention that I am quite actively prospecting production companies here in NYC. They may in turn forward me to their go-to sound people. If you hear from me or more particularly my assistant, Lane, please show her a warm welcome-she is a lovely person, and nonetheless I appreciate that she may be reaching you out of the blue. By necessity, I fleshed out my resume with prior work in music and post, but I welcome your input-it's a 1st draft. What's your take on formatting? (My credits ARE in columns, just not in this message). Catch a misspell or think of a more widely understood title? Too Wordy? And may it in the least give you a better way to reach me: Cheers to you, LOCATION SOUND CV: James Levine REFERRALS 510 East 12th Street NYC, 10009 imdb: http://j.mp/1ck8yKJ Google Voice: (413) 591 8777 linkedin.com/in/levinejames levinejames at me dot com GEAR: http://j.mp/113Uvl2 BIO: James pursued sound reinforcement as a stage hand and then mixer at the original CBGB music club during the post-punk period of the early 90’s. His first brush with live dialog arrived as an actor, where he accepted a seat at the Atlantic Theatre Conservatory (David Mamet, William H. Macy) joined the BigArtGroup company, and in just 3 years secured over 36 overlapping roles in short film, stage, industrial and commercial media placement. During this same period, James went on to tour with Lotus Crown (Warner Brothers), which borrowed talent from My Bloody Valentine, Flaming Lips, Dinosaur Jr, Mercury Rev, Hopewell, and Rollerskate Skinny. By 2001, James incorporated his traditional sound design skills with new media implementation after pursuing computer sciences as an administrator at Simon’s Rock College and completing certification with Avid Protools, thus making him among the scattered few on the East Coast with accreditation, particularly in the software development and games space. James holds a masters degree in environmental science and leads as director for a small foundation. He djs in Ableton Live when the occasion arrises, or can be found enjoying long-form improv and the comedy circuit. While James only recently shifted gears into location sound for broadcast and film, his employers have been immediately receptive to his contribution. Underlying all his work is an impeccable ear for quality and the humility to appreciate that every situation is unique. This is accompanied by the utmost respect and discretion for his client’s vision. Jim’s added value comes from an earnest attempt to be a lifeline for editors and post-production supervisors. James conveys coverage choices in a level-headed manner, delivers a sound report with his dailies, which is a rarity within East Coast culture, and lifts the veil of the sound department by aligning with the crew at large. He’s generally a fun a quirky guy to have around. SUMMARY: While I only recently shifted gears into location sound for broadcast and film, my employers have been immediately receptive to my personality and product. Underlying all my work is an impeccable ear for quality and the humility to appreciate that every situation is unique. This is accompanied by the utmost respect and discretion for my client’s vision. I will convey your coverage choices in a level-headed manner, and deliver a sound report with my dailies. My added value comes from an earnest attempt to be a lifeline and long-lost friend for editors and post-production supervisors. TARGET: To work on full-budget features as a utility, second, or additional boom CREDITS (Excludes live music, stage, and composition): Facing History and Ourselves Schindler's List Interviews Sound Recordist Seventh Art Branding Sound Recordist XOX Betsey Johnson pitch Sound Recordist Dutch House of Photography Boom Stereotypically Me Short Boom Bikeshop IT Sound Design Engine Room Audio Sound Design Farewell Captain Illusus Short Dialog Editor, Scoring Just Wolf Productions-Post-Production Dialog Dialog Editor Huck Masks Concept Video Scoring Sonicnet Rock Website Sound Design Sunshine Interactive Sound Design, Audio Lead CBGB Sound Mixer Platinum Island Studios 2nd Engineer the Building Installation, DJ HITN Cable Broadcast channel Sound Stage Installation SOCIAL PROFILES: twitter.com/braduro facebook.com/braduro soundcloud.com/braduro thefuture.fm/djs/braduro jwsoundgroup: http://j.mp/19h2txB ucbcomedy.com/talent/view/2687/james-levine Google+: http://j.mp/11RR8yj Sound Devices 302 (3 or 5 channel input mixer) Neumann KMR81i short shotgun mic Sonotrim Lavaliers wireless for Lectrosonics ECM-88 wired for interviews DCM6061 wired for interviews DR-40 for true line-level recording

Pindrop, yes I believe the cart can hold a barrel of water in case an Austro-Hungarian prison mate with a waxed mustache drops those lamps over a red brick wall. Really couldn't begin to guess on weight/price. If I get more feedback from our community, I'll be sure to have him reply here as a guest. But reach out; Dave's a very chill guy Sent from my iPad using Tapatalk HD

Thanks daniel. The DWR-S02D only connects serial to compatible Sony cameras, right? And Im not seeing an rx that's designed for a mixer/xlr...it does get me thinking about my other mics-DPA, sanken... Anyho-this is practically the opposite direction Id go with my ecm88 from the options they're giving me. What about legacy series before drr/drt that are still functional in the US? I know the only Sony models that are deceptively inexpensive these days are due to the illegal bandwidth J Sent from my iPad using Tapatalk HD

A friendly acquaintance of mine does custom metal fabrication. I'd be curious to know what you think of this http://www.brooklyncustom.com/prototypes.html The cart was commissioned by the US military and was tested in active duty. That leads me to think it would be very expensive, but you might be surprised. Reach out to David if the design invokes your imagination. It can be dragged up stairs, but if I remember correctly the recon team gave it a whirl by tossing it out a high story window, and it didn't pass their final tests. I'd be curious to know from your perspective which features translate to a suitable mixer cart

I know, I'm reviving an old thread, and yes, Tom, the Sony pricing frustrates me. I have an ECM-88BC, and thought there might be some low-hanging fruit to offer it a wireless system. My real question: How far back can I look in order to find a tuner/receiver model for banks 30/32 or 42/44 that will accept transmission on the WRT-822B? Would the URX-P2 accept the signal? What would I compromise even if it worked? Do both ends offer PLL synthesis? I just don't feel like getting this year's model, if what I'm spending on the transmitter is already an afterthought Or should I be considering a rewiring on my 4-pin sony lav? Getting a connector for it? Learning as I go...

A best practice might be to not be stage dependent on the camera's preamps, but rather supersede them if possible. I'm sure someone said this already with the proper terminology. Other ideas? 1) Check the version number or give your independent film maker a link to the firmware, so you know you're embarking on options that will actually be supported. 2) Maybe short of calibrating with a display at unity gain, calibrate your mixer to clipping. 3) Consider owning an array of attenuators as a staple of your inventory It comes with the territory that some folks using these cameras are either doing some fashion music video, know that it is intended for the web and not even a festival, or just never cared. And many folks in that boat would only trust themselves with sound printed to tape and traveling with the image. So, no, plural eyes is just one of a few best practice approaches. Offering a pret-a-porter product line that has a culturally accepted level of compromise in terms of quality and expediency is another way to go.

I'm with the senator on that technicality. are you asking if I've committed any of my wiring to xlr, or are you asking whether I ever have a job for wired lavs? I do interviews, but moving towards narrative. Like the idea behind the car set up above Sent from my iPad using Tapatalk HD

AB sounds idyllic. AM, thanks for the physics brush up. Wherever you are, there's the fulcrum. Thats like the latest self-help. Now what would you call gail winds, a force? Because I still assert that blimps must be compounding the matter of using them as their suited for velocities in the double digits. Caught in Nyc's flash floods as I write this! And as a matter of fact, I do believe practically everything I read on the Internet, in context! As in, sometimes I believe the author might not be believable, or is just trying to sell me something, is nuts, etc. Sent from my iPad using Tapatalk HDd as a

Sensible input, cheers! You know, that the weight, and now the range of motion, is a limitation, I'll veer away from buying it. Plus, a cage style chassis seems like the better choice, as the screen/mesh has been known to introduce its own noise. I imagine the added weight comes more from catching the wind than simply working at a long fulcrum point... Sent from my iPad using Tapatalk HD

Yup. Rycote is really what I'm aiming for too. Or a piano ofi can afford one. Just didn't see them listed for sale, and the rode was the only one not discussed here. The k-tek I had already ruled out. Sent from my iPad using Tapatalk HD

Good to hear from you! Yes, he does list weight as a con, and I do give him credit for a well-weighted review. Weight might not be a big strike against for me either. Sent from my iPad using Tapatalk HD

I wish i could quote the whole thing, but theres A review on US amazon from a Ron M claiming the Rode blimp is the best zeppelin system. He begins by mentioning that he has tried them all, literally hundreds. First, are you Ron m? We don't have a registered Ron? Second the review says nothing of transparency of sound, its wind dampening, nor it's LF behavior. Where would you rank this "best" wind system in regards to results? I have amazon credit I thought I'd explore, but I only see k-tek and pro? On the site Cheers! Sent from my iPad using Tapatalk HD

Hey julien, How did it go? I'm narrowing in on a zeppelin for my Neumann, and with a rycote softie alone, I'm wondering how much longer I can get away without owning a zep Sent from my iPad using Tapatalk HD

Btw, I've since gained a better sense of humor about this, thanks for your replies! Will just get a bit more patient about collecting mics. Fair enough that some folks are filling out their mic locker with Oscar's. In my case, I like to still fall back on the battery that comes with the tr-79. Sent from my iPad using Tapatalk HD

Toy robot, yours is a better explanation of what I'm getting at. Those sine transients on a long file are easier to look for.

It's a new concept for me as well, and rather than looking at points on magnetic tape, we're typically recording discrete files. But with the corners being cut without a formal slate, file sequences not matching up, letting it roll between takes and over false takes is probably going to happen over the course of the day. So to add why beeps would be useful, I'll suggest that a sine wave is a really easy thing to spot if you're the editor and you are scrubbing the wave visually.

This is how I feel about it too. Assures you're slating sound as close as you can to the camera, but that's not even why I agree.