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Found 21 results

  1. I will start with the main theme from "Get Carter". Roy Budd was the composer.
  2. Hi folks, I'm new to the forum and hope I'm right here with my question: I'm a documentary filmmaker/director who is doing more and more his own sound. I've experiences with a 788T and a 633 and was using the sound report feature. But while shooting I always wanted to add a marker to the exact TC in that moment, so that I'm able to review this marker later – after a long shooting day with long takes – and add notes to all the markers. This notes would be very helpful for postproduction. I guess I'm not using the full potential of todays mixers/recorders. But maybe some of you guys are owning mixers/recorders and have experiences with more detailed metadata in a doc/run-n-gun typ scenario. Thanks!
  3. Hi everyone, I‘m considering to finish my next documentary in Dolby Atmos for theatrical screenings. But this is my first time and I have not yet any experience recording on location sound beyond double M/S. To go more in to detail what I‘m planning: at this project I‘m the director and the sound recordist at the same time. My cinematographer and I will be shooting on an tropical island at the beach and the ocean - above and under water - as well as in the tropical forest. The under water part is very small, so my focus lys on the beach and the tropical forest. We will follow our protagonists through their island while their hunt, plant and sometimes swim and snorkel. As far as I can say now the Schoeps ORFT-3D setup would be the best solution in addition for an boom with a shotgun and lav‘s for every protagonist. But there will be situations where there will no time for setting up the ORTF-3D - beside the fact that I‘m currently not sure if we will be able to afford the rent of it. So I was thinking why not expanding a double M/S setup with another cardioid pointing to the to top to get a triple M/S. Maybe adding the CCM4V inside the Schoeps CMIT double M/S set. This third stereo signal could be used to feed the ceiling speakers in Dolby Atmos theaters/cinema - but I‘m not a sounddesigner and would like to hear your opinions. Has somebody experiences in recording for or finishing in Dolby Atmos and would like to share it?
  4. Tomorrow's Times has a 32 minute selection of fascinating sfx bgs from around the world (like, rats singing harmonies on NYC streets). It talks over -- a lot -- but there are also some very well recorded stereo tracks where the reporter and experts shut up. If you click "I don't have print version", the piece is broken down to shorter clips with images. If you click "I have print" you get the same sounds and dialog, but as a long file with location slider.
  5. I've got a doc shoot in Russia coming up in November, and having never been there, I come to you, fellow soundies for your expertise. What is your knowledge and experience that you can share? I'm particularly interested in the wireless spectrum over there (whether I'll be in need of buying new blocks, I've heard the upper range is best). I'm also interested in anything you can share about the country and what I should expect. We will mainly be in Western Russia. Thank you for any and all input, it is greatly appreciated.
  6. Hey all, I am traveling down to DC this weekend to document the Women's March and the scene surrounding Trump's Inauguration. Our team is very small (3 people total). Our cameraman will be shooting on a discreet camera and I'd like to do my best to keep my audio gear discreet. We aren't affiliated with any company or organization, we are filming entirely independently, for our own use. Our goal and focus is loose as this is the first piece of the doc we are shooting. We are hoping for general event coverage and some select interviews with subjects as we encounter them. I'm wondering if anyone has experience in these type of very high security environments - and more specifically, does anyone have experience shooting independently of a major production company at these high security events. Obviously, I have concerns about what gear I'll be allowed to walk around with. My gut feeling is to bring as little gear as possible. A Mix-Pre or other small mixer directly into camera with 1-2 lavs to capture interviews and an ambient shotgun mounted to camera. However, this is not my ideal setup. Ideally, I'd want to have my 744t with me, a shotgun mic on a boom pole and a wireless lav setup ready to go. I have strong reservations about walking around with my boom pole and shotgun mic. Are these breaches of security? Could they be construed as breaches in security? Same goes for the recorder... On a similar note: I have Lectro blocks 21 and 26 that I can bring down to DC. I imagine RF will be crazy at the event but in terms of legality - are there any special restrictions in place for an event like this? Any information is appreciated - links to restrictions, links to press restrictions, personal tales... Thanks for any info and knowledge you all can spare. This is my first time running into such a high security event with no press credentials. Trying to be as prepared as possible...and I assume I'll still be in for a surprise.
  7. Dear colleagues, In two weeks I'll be moving from Amsterdam to New York to live with my girlfriend (wuuhuuu!). I'll keep on recording sound under a dutch journalist visa. I'll be working for dutch documentaries shot in north or south USA hopefully. I mostly work on documentaries and an occasional commercial or corporate video. Are there any folks out there who like to grab a coffee and have a chat. I think I'm not looking for jobs as I can only work for any country but USA productions, but more for advice on living and working in New York and nice talks. And it's always good to know some colleagues in the city to pass jobs to and ask for advice. All the best, Dennis
  8. Hi everyone I'm in the midst of some filming for a documentary project and I'm hoping for some recommendations regarding indoor run-and-gun recording. For my main shotgun microphone I'm using the RODE NTG-3, which is excellent for outdoor shooting or in rooms with minimal reflective/echo'y surfaces. The problem is I'm finding myself in environments where it sounds quite echo'y and/or shallow, where I need to follow the action of one or more people. I do have my main subject mic'ed up with a TRAM TR-50, but the main subject is at times not close enough to another subject to capture their dialogue at an appropriate level. It's a documentary so I don't expect the audio to be flawless, but it would be great to get a little more even recording between subjects than I'm achieving at the moment. I'm a one man band using a Canon C100, so introducing a sound mixer, etc. is out of the question. I've got two XLR inputs, so in addition to my TRAM, it would be great to find out if another shotgun mic will meet my indoor needs better than my NTG-3. Thanks guys! Sean
  9. Looking to hire a sound mixer fluent in Arabic and English for documentary project (NOT reality) in September-October. Most of the shoot involves international travel. Competitive rate. You can be based in the Middle East or anywhere else in the world. Ideal gear would be: lightweight ENG bag (SD 633 os similar) with two wireless lav receivers, TC syncbox and mono wireless feed to camera. Still in the preproduction phase, don't have a budget or a schedule yet. Please send me your CV and list of gear at: blas-at-blaguecommunications-dot-com Thanks!
  10. I need some advice on selecting a rugged wireless transmitter and microphone for use on an upcoming documentary in Togo, Africa. As well as suggestions for a field multi track recorder. I can't afford the top of the line. More mid range. Thinking about the Zoom F8. Thank you.
  11. Hi all, I have been asked to do sound on a 5D shoot. - Mk2 or Mk3 (TBD). - Sometimes a pair of 5Ds. - It is documentary. - We will shoot in Armenia. - No post house on board yet. - Editor not yet confirmed. - Likely to stay like that until we return from Armenia. - First production meeting Saturday. I have some obvious concerns about sync. - I have only one Lockit. - My pair of Tentacle Sync boxes might not arrive by then. So plan is: ERX on each 5D; - 5D Left track - scratch mix (for PluralEyes) - 5D Right track - TC (for AuxTC Reader) For the interviews this seems fine (they will be boarded) For the event coverage (marches, concert etc) where cams will cut & roll at will, I plan to roll a continuous take on Nomad, as much as possible. I’ve downloaded trial versions of both programs to test the workflow, when I get my hands on a camera. Questions: - Could long audio and/or video takes cause problems with this sync set up? - What is the appropriate way to pad down the TC for 5Ds mic level input? - Any suggestions for improvements to this (provisional) system? - Anyone done this before care to share their findings? Many Thanks, B
  12. Looking for a production mixer for a documentary shooting in Dallas, Beaumont and Odessa, TX March 24- April 2nd. Please email Melissa Shea at melissa.a.shea@gmail.com
  13. Hey Guys, I'm new here and I've done a few searches looking for the info I need but haven't quite found an answer to my specific question. I'm shooting for 3 weeks in the Philippines on a doco - I'm setting up an audio rig with 2 radio mics (along with a boom). Nothing too strenuous, no water action, just interviews etc We'll be in Manilla but also Davao City. Only thing is I can't find any info on the restricted frequencies inside the Philippines. So I'm a bit confused as to which of the below options would work best for in country shooting.... So my three options for radio mics are: - Sennheiser EW 100 ENG G3-B - Sennheiser EW112-p G3 - Sennheiser EW122-p G3 Any help would be greatly appreciated.
  14. Captain Chris Wade and the SeaWatch SharkBoat is about to leave US waters on a mission to save sharks in Costa Rica's beautiful Isla de Cocos with a crew of 10 and boat full of GoPros, Canon 5D's, DSLR's and Final Cut, ProLine, etc... Every moment of every day will be documented. On the Boat (handheld and fixed), In the water (drones and diving), in the air (drones). This is a self funded production in conjunction with The Shark Research Institute and SharkBoat.org. Does anyone have any suggestions as to individuals seeking a write-off to a 501c3 for 2014 in exchange for some used/unneeded gear (Booms, Wireless, Mixer, etc...) that could be donated for this amazing project. Or a sound person/ DIT looking to come to Costa Rica for 6 months on an unforgettable journey that is assured to capture content that no one has ever seen before. "The Pirates of the Pacific" are about to enter "Blood Waters" and could use your advice!
  15. Sound brethren, any advice for me on recording sound in Finland and China? any tips at all appreciated. I'll be working on a documentary with a Camera Op and Producer. It's an aerial skiing doco. We'll be travelling throughout Finland (not sure where yet) China - we'll be in and around Beijing. For background info - I'm running the following kit: 788T + CL8 Octopack fully loaded with block 26 and 24 LMa (block 24) and R1a's Schoeps CMCMK41 + CMIT5U + Schoeps M/S rig and Sanken CUB and Cos 11's Petrol Bag, Remote Audio BDS, Lithium NP1's K TEK doco pole + other assorted kit. I'm aware Finland will be around -25 celsius or lower. Any pitfalls to watch out for in either locale? Any wireless licensing issues? We'll be visiting The Bird's Nest in Beijing. Thanks in advance! Dane
  16. Really interesting doc sound design talk from Peter Albrechtsen http://vimeo.com/60171257
  17. Considering LOW BUDGET feature and documentary film making, what are the main differences considering post and/or audio post specifically? I'm wondering specifically about the distribution process. Does M&E take place in doc's as well? I have post lo budget feature experience but not as much in the doc realm. So differences in: Dialogue edit (obviously no ADR) SFX (Most PFX I assume) Design(Mostly PFX again.) M&E and then to distribution. Just wondering what requirements are different between the two....like does Germany for example accept a doc on different quality control requirements than a feature...I assume it does, but I have no idea. What issues have you guys had with the between the two? Thanks postmen.
  18. I've been thinking about purchasing a small lighting kit- maybe an Arri kit, or/and some LED light panels- just a basic interview package. The plan being that if I'm hired as sound mixer on small ENG shoots I can offer these as extra equipment for rent. On these two man jobs I often end up helping the camera op set up lights anyway. I think could be useful especially to producers who fly in from out of town to do a few quick interviews and fly out right afterwards. I could offer a basic lighting package saving them from bringing heavy lights on the plane, or having to figure out getting lights from a local rental house. It might even save local producers time picking up lights the day before a shoot. I wouldn't want to get into anything complicated that would require a full G and E package. Even simple lighting is pretty expensive though, so before I decide to go down that path I thought I would ask if anyone else here has bought into purchasing lighting and has this been a worthwhile investment, or do you find that most of the time they end up sitting at home not making any money?
  19. Hey Guys! So I have big project coming up that I will be doing a lot of traveling for. I will be OMBing it. The shooting locations will primarily be high-altitude, cold environments, probably mountainous. I will be using a SD 664 for recording. My other gear includes and ME66, 2x Senn G3s with a B6, and TL40 lavs. I will be renting a Rycote zeppelin system as well. Primary cameras will be DSLRs (5d), and a high speed camera as well. The content will be primarily single subject interviews of athletes documentary style. So the interviews will take place indoors and outdoors in a variety of conditions. There may be action shots also of the athletes in their element. My goal is to capture clean, wind free dialogue (obviously), but also capture some nice ambience of the environments we will be shooting in. The production company has an Audio Technica BP4029 Stereo/MS Shotgun that they are going to let me use as well. Anyone have experience with these kinds of microphones? A few questions: -Any ideas on some wireless systems that might perform better under these conditions? I hardly trust my G3s. -Good stereo mic to rent for ambience? -Any tips on keeping the gear working in cold temperatures? -Does cold weather affect the life of NP1-style batteries? I just want to prepare my self as best as possible for this shoot. Anything helps!! Thanks
  20. Is the underwater world a silent world? No, the depths of the sea are as full of exciting sounds and voices as any other habitat rich with species. However, humans can't perceive these sounds under normal circumstances, and so this world has been hidden from us so far. During the twelve days of filming around the Caribbean island of Bonaire for the documentary "The cannon crackers of the pistol shrimp", for the first time a microphone technology was used, that was previously only available to researchers and allows the recording of sounds of the underwater world not only true-to-life, but also in surround quality. This documentary is a teaser for a documentary series "Sound of the oceans" production is starting this year! Ambient Recording is honoured to be part of this ambitous project! Believe me when I tell you that it is an amazing job to do! Not only to hear stuff you never heard before every day but also,... well look at the pictures I hope you enjoy watching the teaser! To watch it in surround please download it here To watch it in stereo on vimeo please click here To get more informations click here
  21. Been working nearly exclusively within the state of MN for the past few years and would like to get out and travel. Don't need a big paycheck and am, in fact, open to pro-bono for the right gig. Narrative, documentary, TV, it's all good. I hit up Mandy.com frequently, but usually just find student projects or two-day shorts. Any suggestions? Resources?
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