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Found 10 results

  1. Hi, Anyone tried LINE AUDIO CM4 microphone on a boom pole with dialogue ? Kuba
  2. Hi everyone, I was wondering if you guys had experience with InEar monitoring for actors! Specifically I would like to shoot a music scene with live singing and I would like to equip the singing actors with inear monitoring so they can sing to the playback. I had good results once, using one of the comtek receivers on an actress using regular earbuds in only one of her ears. The makeup artist helped me covering both earbud and cable with the actrisses hair. This time I have a car scene with father and son singing to the radio. The camera will be shooting only from one angle so I would equip each actor with monitoring on their nonvisible ear. Has anyone tried wireless monitoring solutions here? I mean would it be possible to get rid of the headphone cables somehow? AFAIK live musicians use wireless monitoring with earbuds personally fitted to their ears, this would be quite costly on a film set. I wonder if there are solutions with unifit (for any person)? Would be interesting to know what problems you encountered. In another scene of the same film, actors are singing to the radio in a living room. Here it will be very difficult to hide earbuds as they move around; its a longshot though, so I might try using the same technique. Another option would be to use a playback with a lowpass filter somewhere around the mid-frequencies, so that the actors can sing along to the playback while capturing more or less decent production sound. From a re-recording mixers standpoint Id say this method might work, but Im curious to learn about your experiences! All the best, Hapaty
  3. Hello all, I recently discovered this forum and am learning new techniques/knowledge each time I log on and read. I wanted to reach out and ask for any advice anyone can lend? I'm based out of Austin, Texas and have primarily worked on shorts, several independent feature films, a couple of feature documentaries and am looking to take that next step up the metaphorical job pole that is the film industry. I'm a hard, disciplined worker who is always willing to learn new and innovative ways to capture the best audio possible. If anyone in the Austin/Central Texas area is in need of a boom operator or a sound assistant, I would greatly appreciate any and all who reach out to contact me. Thanks!
  4. There's a chance I might be moving to Vancouver, B.C. this year. I'm looking to get an apprenticeship in location audio. I've worked on a number of small indie shorts on this side of the pond where I was basically a one man sound department, so I'm quite the newbie. Any advice from folks working in the industry in Vancouver? I'd like to get some experience in a larger production to get an idea how everything works. Does the sound department take on people to help out during the shoot?
  5. Hey y'all. I'm new here, but I've been mixing/booming freelance for about six years now and I keep finding that there's no "one" way to mix a narrative feature, but I'd like to read how all of you go about your work day. I was let go from a shoot recently by a sound mixer I haven't worked with much in the past. I was his boom op and utility person. I was fired in a passive aggressive way, and I don't know his personal truth behind it all, but I'm perplexed as I've been moderately successful at this craft. Enough to keep making a living at it after six years anyway. My hunch is that I wasn't up to snuff with his ideas of a good boom operator. He'd get frustrated if I didn't capture footsteps clearly when an actor was walking further into the distance of a shot. "You need to turn the microphone and follower her!" he'd say. "What about sound perspective? And isn't a post sound guy going to create his own footsteps anyway? Is this worth making a big deal out of?" I'd shoot back. Or if two actors were talking I'd keep the boom stationary, evenly between them also knowing that they were laved on iso tracks. He'd bark, "You need to tilt the mic back and forth to capture the dialogue." "Won't that screw with the ambient room tone when we hear the mic shifting positions back and forth?" I'd ask. "Or what if the actor decides to improv an extra line and my shifting captures her dialogue unevenly?" Rather than dealing with my questions and helping me understand where he comes from with his experience as a sound mixer, he found it easier to fire me and hire an unknown. Now, I come from the experience that above all else the sound mixer's role is to capture clean, clear dialogue first and foremost. If I know the production is hiring a sound designer later, I don't stress about capturing sound effects on set. Especially if I'm getting paid $100 a 12-or-more-hour-day. My experience has always been that sound designers throw away pretty much anything that isn't dialogue. I'll get room tone after every scene (though most I've talked to say that's pretty unnecessary too in this day and age of ProTools), and I'll definitely capture a sound effect in an insert since I can get the boom inches away from the object making a sound, but I also won't ask for a 4th take if a plane came in on the third of that coffee mug being set on the table. Why hold up production over something so trivial? Hey, this isn't even a union shoot where we're going to make overtime. We're lucky if they call the pizza guy after the 12th hour! Sorry for getting carried away. I originally started this post because I wanted some opinions on how exactly one should conduct themselves as a boom operator. Is there a standard way to do it on a narrative film? All replies are appreciated. Thank you.
  6. Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project and get a quote. Thanks!
  7. Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project needs and to get a quote. Thanks!
  8. I'm in my 4th year as a Location Sound Recordist, slowly making my way up the trail, acquiring gear as I can, gig after gig, always updating my bag. I know what I need, it's simply a matter of money and time. I'm looking into purchasing the MKH 8040 for interior recording situations. However, i'm also contemplating the Neumann KM 184 MT. Any suggestions and opinions out there would be very appreciated!!
  9. Easier for post sound but anyone do one for location recording? ....
  10. Hey folks, In short (if you don't have time) What do you do when you have to record dialogue with a generator running in the background? Background story (if you have time) I had a shoot today and we had loud generator that we couldn't place too far away from where the action was happening (about 40-50 meters at most). This was due to budget restrictions on power cables. I hated it, and it totally interfered with getting a clean forest sound under the dialogue. We turned the jenny so that the noisy exhaust/engine or whatever it is was facing away from the shoot, and we put a semi-sound-blanket on top to tunnel the sound further away from us. I also had the actors talking, mostly, in the direction of the jenny so that the mic could face away from it. But I could still hear a significant generator underneath everything. What would you have done? I used a KMR 81.
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