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About HenZ

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  • Birthday May 16

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    I am a sound engineer for La Blogotheque and many other films. I am also a music producer and musician in Shoefiti: www.shoefiti.bandcamp.com
  • Interested in Sound for Picture

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  1. From my understanding, a gunshot is a bit like a drum snare: very dynamic, short and loud. Some friends in post use dynamic microphones to record gun shots (such as a Shure sm57, believe it or not) for their sound design. They have it quite close to the gun and have an array of other mics further away or pointing at "reflective areas" just like Mike West said. Either way, if blanks are used, I was told they do not have the same sound than real bullets. So it's maybe not as interesting than a good library shot and the location sound is likely to be replaced (again Make West is right
  2. Hey, thank you all for the nice feedback. If some of you are interested into a in depth interview and view of how it was made on our end, Sound On Sound made a lengthly article about it. It's a dollar online to access the full article apparently but it will be free in a couple months I believe. https://www.soundonsound.com/techniques/inside-track-justin-timberlakes-say-something Also, in the pictures SoS miscredited the incredible steadycamer Ari Robbins with the director Arturo Perez Jr. But hey: they're sound guys!
  3. Hello all and thank you for your kind words. With Guillaume de la Villeon, I was one of the two sound directors on this shoot (conception, recording, post mixing) and it is quite a story. Perhaps too long and boring to tell here so I'll just answer a couple of precise questions asked here. There were 6 takes in total: 5 day takes and 1 night take. This last night take is the only one that was done with this lighting. You can actually see a lot more of the unhidden mics and wiring in the day version. All of the sound is from live sources. There are no studio overdubs. It
  4. This article is so good. Love it and congrats to Patrick Baltzell: dealing with these kind of talents on something this big is a huge feat!
  5. Haha! Yeah! I didn't work on this one. But apparently they had quite some issues with the drone. This time the camera was quite heavy and the drone had to be a big heavy one. Also, if you get a chance, I would be super happy if you could give a look at this one. There's even a song where i had to deal with more than 25 musicians! Cheers!
  6. Awww man! I love Chicago! I mean, their first albums (till the 5th) are really good: i used to listen to those like crazy when i was in junior high-school (which led a lot of the other pupils to consider me in a weird way). They seem to have gone way to soft and into ballads after that (in my opinion). I'd love to see that movie.
  7. Haha! So true... Unfortunately, they always seem to make cuts on the sound department. For example, sometimes i struggle to make them understand we must be 2 soundies for a job. And when I get it, i'm satisfied I already have that and reduce expenses on mic rentals and such, understanding this is a low budget production... until I arrive on set to notice 2 cameras with 2 assistants for each (that makes 6 people for the cameras!). When I am interviewing for a job, I always have the impression they have no idea what they're talking about and they don't know their job (which is to kno
  8. Hey everybody, Happy New Year to all! Now 2013 is buried I was wondering what was some of your favorite gigs during that year and perhaps you could share them. Also, what are you hoping (sound wise) or looking forward to specifically in 2014. Take Away Phoenix: This has been online for quite a long time now and I can certainly say this work was one of my 2013 highlights. It is something, with the other sound engineers involved, that we're very proud of and I hope you'll like it. Basically, it's a Take Away show with the band Phoenix and it has some pretty particular things going on: w
  9. Wow! I stopped reading at page number 5. Anyway, Mark, excellent work describing this guy the workflow. What made me laugh is this though: So the guy has three cameras. Not the same models. His shittiest camera goes off sync and causes him issues and instead of saying: "next time I won't use this disfunctionning camera", he goes on a rampage and wants to invent the ultimate camera that will record sound, etc etc. Gosh, this guy is walking backwards.
  10. Hey! Sorry it took me ages to answer. I did many many take away shows. Most of them in the past 2 years actually. I also did a couple pocket parties (appartment gigs with multiple cameras, if you've never seen one i highly recommend watching the FEIST one. It's simply beautiful). If you find my name in there (Henri d'Armancourt), that's me! One of our most impressive from 2013 though is Take Away Phoenix: we shot in the gardens of the Versailles Castle, in Phoenix's tour plane and even on the airport driveway (that was edited out though ). But we were more than one sound engineer on this on
  11. Awww man, that church would have sounded so much better if my 2nd mic (for the stereo boom mic) wasn't broke down at the time! (therefor, only had a mono boom mic). This was the first song, only take. We did another song and i was able to throw a stereo-h4 a couple meters behind me. The second song didn't make the cut though. It's a shame. We also shot more songs and an improvisation on the roof of the church, with the cold wintery parisian streets under us. Damn it was intense. Ahhh... Too bad editors can be lazy or lack time. Thanks for putting this up!
  12. Hey! I know this is too late but here's a bit of what i did during a month trip in january 2013 accross Russia and Siberia (coldest was -30°c with wind on Lake Baikal i think). CLOTHES: I think its actually the most important. You need multiple layers, no coton as it keeps the humidity of the sweat. Especially for feet, hands and head. Those are the most exposed. Multiple layers there again and get one size or two above your size for your boots: you're going to need space for those socks! Little tip: have hand warmers and feet warmers in your gloves and socks BEFORE you go out and th
  13. Hello Andrej, I've been following this discussion with a lot of interest and it took some time for me to watch all the videos you kind people refer to. Working for the Blogotheque who is a site known for it's "musical documentaries" (i guess we can call them that way), i am quite familiar with music recording techniques for films. Also, we mix cinema and music recording technics during the shooting and in the mixing process. Although, since we're dealing with a "documentary" configuration (not much time with the performers usually, very limited sound equipment most of the time, etc), we c
  14. Hello, I would recommend the same thing and perhaps even suggest something more extreme to counter the background noise: having a lav on the violin, a closed up stereo mic and a further one if you can. I encounter these situation often, but the performers are filmed so it's not exactly the same problems. It's a interesting idea but i believe it's even more interesting if you take in consideration the background noise and have to deal with it in a musical way. But again, that's not what you're looking for. In any last ressort, perhaps the studio is the safest choice.
  15. Hello, I've asked JB Aubonnet about this one since he is the audio director on the Empty Spaces series. Apparently it's a mix of FOH mixer and preamps. He uses the FOH the make the sound in the area because he has ambient mics around the place and wants to record the global ambient sound of the whole band. The mics are also routed to preamps going into a ProTools. Sometimes the FOH mixer has its preamps used for the recording as well. It depends on the band, what he can get for the area and the backline the band brings along. I know that in the Franz Ferdinand one they were able to do a c
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