Jump to content


  • Posts

  • Joined

  • Last visited

Profile Information

  • Location
  • About
    Sound recordist and boom operator
  • Interested in Sound for Picture

Recent Profile Visitors

1,047 profile views
  1. Thank you for the inputs guys . I'll definitely bring my gear on the gig as well as the backups .
  2. Hi everyone ! I'm about to start a job in Kenya and I've been told that there are no rental houses there . Does anyone know if there are nearby areas provided with a well equipped audio rentals that can ship gear ? Thank you very much
  3. Constantin , that's a beautiful cart indeed! May I ask you about your monitor mounting system and what components you used? Cheers
  4. Thank you so much for the suggestions and the support ! At the end I convinced the DOP to make some adjustments to the black shade mapping and we used a relatively low image compression . I also suggest the director to try to have a break every 35 minutes or so (not always possible tho) and during the pauses I asked the AC to put fan on full power (manual 100%) . So far so good ! Now a new "issue" has popped up : they asked for simultaneous translation via Skype , the translator will need to be listening to the interview and his translation to be sent to the director. I was thinking to just use a minijack splitter (in-out) from the laptop ,feed the Pc with the interview from my mixer and sending the translation to one IEM out . It looks like the most straightforward approach. Are there better ways to to this ? Will I have massive delay problems? Has anyone being in the same situation and has some advice to share? Thank you in advance !!!
  5. Hi beautiful sound men and women ! I'll try to be as quick as possible . I'm about to start a documentary involving LONG EMOTIONAL interviews in small spaces and a pretty big crew . DOP and Director insist on using a Red Dragon , my last experience with long takes and a Red wasn't that pleasurable. I'm aware that Adaptive Preview Quiet Record is the most "sound friendly" mode but still I'm not sure that the fan won't kick in after 20 minutes or so and the camera technician at the rental house has been quite vague about it . Honestly I've never had to deal with a Red on this kind of documentaries, I wouldn't be so worried if we were talking about a feature . Anyone has some experience to share ? Suggestions ? Should I just insist more on getting another camera ? Thank you so much
  6. Hello audio boys and girls ! Here I am with yet another call for help. For my next gig I'll have to record dialogues as well as live music. We have some pre recorded tracks to playback but a lot of times there will be semi-improvised performances . Of course having mic stands in plain sight is not an option and I'm going to rely on cos11 , 4061, a couple of 4080 and two Shure SM11 (dynamic lavs) . I also have a mkh 30 + 50 MS available and several 57s and 58s . There wll be 2 main "non-amplified" situations 1) Sousaphone , banjo, clarinet , snare and bass drum, violin 2) accordion , clarinet , acooustic guitar Do you have any tip on how to hide the capsules (I can't wrap my head around on how to keep the lav wire invisible on the clarinet, for instance) . Also for the first set up I m afraid that the sousaphone might be too prominent to use just the MS array and I think that the a close miking is in order to give some balance in the mix . Suggestion and real life experiences are very very welcome ! Thank you very much
  7. Thank you very much for the valuable inputs and suggestions ! Surely recording wild tracks in a "treated" car is not an orthodox procedure and I was thinking about it as last resort . Glad that Philip had some success with this method, if if worse came to worst I know that I can try it . Hopefully with a bit of help from production I'll be able to "steal the actors" long enough to get some wilds as far as possible from the sea. I'll keep you posted
  8. Hi fellow sound men. I'm Corrado from Italy and I've been lurking around here for a while, always finding helpful suggestions and a big deal of shared knowledge for which I thank you all ! I'm about to start a job that will include a lot of dialogues on a shore , extremely close to the sea . There's a chance that some days we gonna have bigger, noisier, waves. I'm planning to use the old mkh70 for the majority of the time but, being this a low budget job with no enough resources for ADR sessions, I was wondering if it would be of any help ,during the worst days, to use a fairly big car ( "treated" with carpets and blankets ) to record wild lines just after the scene . Anyone has tried out this method ? Would this be just a waste of energies ?
  • Create New...