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PhillipWestbrook

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About PhillipWestbrook

  • Birthday 09/30/1982

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  • Website URL
    www.sunfirestudios.com

Profile Information

  • Location
    Dallas, Tx
  • Interests
    Music production, film prostitution and poker.
  • About
    I do location sound mixing/recording and run a recording studio that does music production, audio post and 5.1 mixing. Love audio, what's up!
  • Interested in Sound for Picture
    Yes
  1. If you already have a 552 you could consider adding a zoom H6n to supplement your channel count. As far as mics go have you considered the Superlux S502? It is a 2 channel fixed ORTF mic that is only $199. I used it on some ambient and music recordings (the music recordings were not planned) in Cuba and am pleased with the results after getting everything back into the studio. Also what is your goal of the recording? To put the listener in the perspective between the two choirs (one ORTF pair panned left and one panned right) or is it to create a front and back experience? (This could be accomplished using the new waves virtual surround mixing room which recreates an immersion experience using regular headphones http://www.waves.com/plugins/nx)
  2. I personally won't be buy another mixer past my 664 until I see built in DSP (EQ, Comp and NR atleast availible on the master track). I would never touch ISOs but I would bet that a shocking percentage of most of our work never sees any post. And no I don't want to pay $3500 for the (admittedly great sounding) Cedar NR box. The 688 and 788 already have auto mixing built in, it won't be long before all of this is available. In the mean time I'll be buying wide band lectro SRCs!
  3. The "break" in the middle of the day won't fly. My 10 or 12 hr day starts at call and the clock doesn't stop. Production is buying a block of my time during which they are free to do whatever they want with it. A ten hour day is an 8 hour day plus 1 hour lunch plus 30 min set up and break down. People will try and get what they can out of you. Not my problem if they didn't plan well.
  4. You might consider Oscar Techs. Around $100 and sound as good as some of the $200 or more mics.
  5. Or you could just get a 442 so you have 4 channels and faders. 552 is great for dialogue but for SFX you may want something quieter.
  6. Well I'm glad you think post ought to be a part of every production (I do too) but the reality is that VIDEO EDITORS don't know Jack about audio editing and all too often the entire process is: is there audio there, ok it's done. Also is it really so bad that editors would expect and want more metadata?
  7. Yes dsp processing would allow for more complex metadata (mix automation, gain settings). along with some master bus processing. The jobs I'm talking about won't have audio post anyways so nobody's losing out. It would certainly be a competitive advantage for any mixers that can provide this feature/service. ISOs recorded clean for sure!
  8. I am perhaps not alone in desiring some kind of built in compressor/graphic eq atleast on the master channel of my 664. If we're dreaming then let's go for 3rd party VST3 type plugins. Soooo much work I do I suspect will never have the opportunity for post editing or clean up. Some simple tools (dsp based) could save time and money for post if we had them in the field.
  9. Hi Redlineracing! My first job out of recording school was doing exactly this for an Arizona based video game house (2XL Games -makers of ATV Off Road Fury, Motocross Madness, Etc.) My job on Baja was to record everything from Pintos to 1000 hp Racing Trucks. You're on the right track with what you're doing. I'll try to outline what I found worked for us: 1. Dyno - Must have. For engines to sound like racing engines they have to have a load on them. The dyno (most high end race shops have one) controls the engine through the cars chip and allows you to choose the exact RPM you want to achieve. Also makes sure you don't blow out the engine. We found that recording in 500 RPM increments sounded much more natural than 1000 RPM when pitch shifting. Recording Rig - You'll need a multi-track recorder and several mics. We had a few Neumanns but found that a Sure SKM32 and SM57 (would try a SM7 or 416 also) worked best. Experiment with placement. I found that usually right near the tail pipe and right under/over the engine sounded best but occasionally something awesome would pop up randomly. Walk around with the mic and listen for something cool. Make a 60 second to 2 minute recording at each RPM Post Production - after everything is recorded at each RPM you'll need to do a some editing on the sounds. You'll need to make a seamless loop out of every RPM level (this is why you record so much for each level) which is a big pain in the ass and I thought was the hardest part of the process. After you have loops for each RPM level load them into your sampler and do eq/compression after the loop in the sound chain. Remove mud, add bass, boost growls, etc. There's way more detail I can add but hopefully that's a good start. Cheers!
  10. I have used the Lux Falcon CF Boom for the better part of a year and a half and have no complaints. Not quite as sturdy as a KTek pole but its also noticeably lighter. Planning on moding it with an internal wire but otherwise VERY happy with this purchase!
  11. Totally random, but has anybody successfully made a mod to their harness so they can use a boom buddy on it for OTF interviews or super long static shots? (Using a petrol harness btw)
  12. The answer to our problem ended up being reimporting the audio with a different sample rate (44.1k) and everything lined up. Additional relevant information also includes that the FCP session started as 24 frames.
  13. Thank you everyone for sharing your experiences and the solutions you've found. We used C300's on a different day of shooting and had no problems so we know it was a Vericam issue. We will make sure to have lock-it boxes in the future. I passed the information on to the editor and hopefully reimporting the audio will solve the drift issue. Thank you again everyone!
  14. Hey! So I just got a call from our editor and he said the audio recorded on the 664 isn't matching up with the video. All the cameras (Vericams) were jam synced with a Timecode slate to 29.97ndf and were checked at the end of each hour long take and were still in perfect sync. The video from both cameras matches up perfectly for the whole hour but the audio starts in sync drifts way out by the end. We also used a clap from the slate as a back up. Has anyone else had this problem or have any ideas what might have gone wrong
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