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Everything posted by HenZ

  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
  16. Haha! Love the tongue in cheek humour in this. Congrats.
  17. Hey, no problem: your french seems fine. Thanks. There was nothing crazy fancy on the guitar. It's just that when mixing these we often have too much going on in the center. Since i had a mic on the guitar and another on the guitarist picking up a lot of guitar (as much than the guitarist's backing vocals), i decidef to pan one of the mics one side and the other mic on the opposite side, giving a "stereo" take of the guitar, still hearing it in the middle. Just to try something different. I'm glad noone noticed! (or else it would mean it's a bad idea i guess).
  18. Oh, by the way, i don't want to look like we're boasting around here or anything, but perhaps some of you will find something interesting in these couple videos. Early june we went to Porto to record some artists during the Optimus Primavera Sound Festival Porto and some journalists came to film us working. Here's a short film from P3: http://p3.publico.pt/cultura/mp3/8128/filmamos-la-blogotheque-filmar-daniel-johnston And some local news came to interview us during the shooting we did with Local Natives. Hugo (one of our directors) answered a couple questions. If you find this enticin
  19. Hello Koukouvani, I am the one who did the Kodaline Take Away Show. It's funny because that van thing was just something i did for fun. Colin (the director) had the silly idea of having them start in there so i proposed to get in the van just for the kicks, hoping something interesting would come out of it. It's just a regular van, probably one of those of the market workers. Nothing special: a big empty trunk with metal walls and a wooden floor. All i had to make sure was not to be in the frame (so wait for the singer to move the camera away from the van). On that session i was lucky
  20. Hello everybody, today we've just released the Mermonte Take Away Show which is the first TAS where i am also the executive producer. I hope you like it. There's also an article giving the context and the story behind and around the event. But basically, this was shot on the 20th of december 2012 and the idea is that Mermonte prevented the end of the world with this performance. At least, that's what i believe. I'm pretty sure you guys will spot the microphones this time
  21. I forgot you would do that sometimes. It works REALLY well! Shiieeeeeeeeeeet!
  22. Soundwise, the Breton Take Away Show amazed me quite a lot too. (François again)
  23. I don't know about this one. Perhaps the background was quiet, or the fountain in the back was covering the city noise. This is a mixing issue though so it would be better to ask Julien about it. On my mixes, if there's too much background noise i can try to make it quieter by using noise removing plug ins (Waves' Z-noise or Izotopes Noise remover). Also, we usually get rid of wireless interferences with Izotope Spectral Repair. In this Baden Baden one i think I hear one of those around 2m40s by the way. Often, the background noise occurs in the boom mic. The lav mix have a "signal to
  24. On the Baden Baden TAS, this is my guess: - ORTF stereo boom mic, operated by François from behind the camera. - One lav mic hidden in the singer's shirt. - One lav mix hidden on the elec guitar amp. I guess that's it? I can't see anything else, but as someone here mentioned it the trumpet is loud enough, the glockenspiel goes through any microphone around (I'm mixing a Mermonte Take Away Show coming out in a week and they have one of those - not that it's a nightmare, but it can really kill your boom if you get too close - even though if a glockenspiel was an animal, it would probably
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