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Found 17 results

  1. Firstly, these are the locations where the live concerts and recording jobs would take place: #1 #2 #3 As you can see, if we were to arrange the main microphones in the middle of the concert hall, this would detract from the perception of the audience. However, apparently, I can't punch holes in the walls of these rooms for microphone hookups, which would result in a huge claim for money and my expulsion from school So, my current idea is to use a pair of very tall microphone stands (such as K&M 20811), place them at the very edge of the venue, and then use a wire and suspend the microphones in the air. I probably need to modify a microphone cage based on the stereo bar I have now for easy installation on the wires. And need a pair of pulleys to transfer the wire onto the high stands (somehow looks like a fishing pole?), also the Microphone cables may need to tied with the wires. Has anyone here used a similar approach? What issues should I be aware of when using a similar approach? I would greatly appreciate any advice you can offer! Sincerely, Koyama_P
  2. Not comprehensive, but a glimpse at Ben Osmo's rig on the Alien: Covenent movie. Interesting that Ridley Scott is asking him to play creature sounds on set to help the actors emote. https://kellyonatangent.wordpress.com/2017/05/25/behind-the-scenes-the-sounds-on-set-of-alien-covenant-tested/ I spotted Sound Devices, HME Intercoms, Ambient timecode, and I think a Cinela windscreen.
  3. Hi guysI'm doing some research on Foley for visual media for my final university project. If you have a couple of minutes could you fill in my questionnaire? https://www.surveymonkey.co.uk/r/MNBFGPQCheersMartynhttp://www.mgreenaudio.co.uk
  4. I have a potential upcoming job that would require recording sound on a a commercial airliner while it's in flight. Thoughts that come to mind: - Lav's will be the only reliable source of audio - Perhaps the AC, air blowing systems can be shut down or minimized for sound purposes while in flight. - Film at cruising altitude for reduced noise - Talent will need to talk very loudly - I'm wondering if wireless is an issue while flying - Overdubs may be required Does anyone have any experience recording in this sort of atmosphere? Any ideas how to deal with the crazy amount of noise on an airplane?
  5. Howdy Gents, So I'm potentially going off in April to Brazil to shoot part of a documentary and I was thinking I'd like to grab a bunch of surround Ambiences of the Rain Forest, and multiple other locations that I'd later use in the final mix (I'm also the post editor/mixer for these films. The budget precludes the production from actually ponying up for the cost of a really nice surround config such as Schoeps OCT Surround setup so I'm trying to do one on a shoestring budget that I could absorb the cost on my own. What have you done to achieve decent quality recordings that you're happy with? I was thinking of building my own mic tree mount system then buying some reasonably priced mics to populate it. Any input would be greatly appreciated! John
  6. Hey Guys! Need advice again! I got asked to do a 2-day reality gig that will be a pretty big setup. Here are the specs: Equipment: CAMERAS: Canon 5Ds Sony FS700s SOUND: SD 664 CL6 8x Lectro UCR411a 8x Lectro UM400 8x COS11 2x Senny G3s (backup wireless) Senny MKH60 4+ Røde Mics BDS & NP1s There are 2 main setups that I was concerned about: SETUP 1: 4 people in 4 different cars driving at undeterminable distances from eachother. 1-2 cameras in each car. Interviews being conducted in each car. QUESTION: Since I obviously cannot be in 4 places at once, and I don't know where the cars will be in relation to each other (I will be in one of the cars) I don't want to rely on the wireless for the primary sound. My solution: Røde mics on each 5D? I know they are not the best quality audio wise, but I don't see any way around it. SETUP 2: 4-8 people in a restaurant for a taste testing scenario. Multiple cameras. I will wire up everyone, but I also wanted to have a boom going for ambience. I won't be able to get it in the shot. ----- The production wanted all ISOs, which is fine, because I have 12 tracks to work with with the CL6. In standard reality (in all your guys experience), does post want a 2-mix primarily or ISOs? I am not the most experienced mixing on the fly, so I would prefer ISOs as well. Just wanted to know how the real people do it. This question may seem dumb, but hey, how do you keep track of 8 people simultaneously?! Keeping consitent levels without auto mix? Wires. To hide or not to hide? Not having to hide the lavs would speed up the production two-fold, and I wouldn't have to worry about clothing shenanigans. Do most reality productions care if the lav is hidden? Should I just ask if they care? Power. How long do you think I will be able to run my bag off of 1 IDX NP-L7S (14.8V/71Wh Lithium Ion)? I am powering 8 UCR411s and my SD 664. I will probably be rolling all day, and I have 4 batts to work with. Any other tips would be greatly appreciated! I have never worked with this many simultaneous tracks before so please let me know the best way to stay on top of everything. -Ryan
  7. I'm going in a month to film in Qatar and i know it will be very hot. For the past 8 years i have been recording/mixing with my Beyer DT48. I love this headphones and i love their very flat and 'real' reproduction. Also their noise isolation. But they are heavy and most importantly, very hot! The pads are made of leather like material, so they are not ideal for Qatar. I just wanted to hear what people use around and if anyone has any recommendation (or mods for keeping the DT48 cool). Price wise similar to the DT48's as i want good headphones. Thanks everyone in advance Diego
  8. Hello everyone I'm starting soon a documentary and i know i will be relaying heavily on radio mics for the main character. I just got told today he is got a BIG beard. I just wanted to hear tips and recommendations for dealing with this. I know a beard might not be a massive sound barrier, but i'm scared about noise of it against clothes. Should i go in the chest under beard or in the beard? Thanks in advance Diego Sanchez www.soundiego.co.uk
  9. Hi! I am about to invest in some new gear for film/broadcast and just wanted to know what you think about this list. Please let me know if you have any suggestions, ideas or criticism. Thanks! Here's my setup: Wireless set: Sennheiser EM 9046 8 channel receiver, 9000 transmitters Lectrosonics 400 Series Wireless Lavalier Microphone System x4 Recording (8 to 24 track): Sound Devices 788T-SSD 8-Track + CL WIFI Onyx 1640i - 16-Channel FireWire Recording Mixer JoeCo - BBR1-B BLACKBOX RECORDER Microphones: Schoeps - CMIT WS4 SET - CMIT5U Shotgun Microphone Set (w/ Rycote - Windshield Kit) Sanken - CSS-5 Stereo Shotgun Microphone (w/ Rycote - Windshield Kit) Lectrosonics M152 Omnidirectional Lavalier x4 Sennheiser MKE1 x 8 DPA Microphones - 5100 Mobile 5.1 Surround Microphone Crown Audio PZM-6D Pressure Zone Microphone Sanken - CUB-01 Miniature Cardioid Boundary Microphone x2 IFB: Comtek - M-216 - Digitally Synthesized Wireless Transmitter (Option P7) Comtek - PR-216 Beltpack IFB Receiver (216-217 MHz) x 2 Lectrosonics - IFBT4 Frequency-Agile IFB Transmitter Lectrosonics - IFB-R1a UHF Belt-Pack Receiver TC: Timecode Buddy Wifi Master + Tx + iPad (Slate) Power: Xantrex Freedom SW New Gen ..and a sound cart. (any suggestions?) What do you think?
  10. Hey Guys, I recently recorded a short film for a buddy of mine and used my Pro Tools 9 and Focusrite Saffire 56 interface to record 1-4 mic inputs. I am now finding that I can't export poly wav files from Pro Tools (trying to use the export file command always makes many mono files). I downloaded wave agent to see what I can do, but I have never used the program. Also, I didn't roll on all inputs all the time, so the filing naming isn't consistent for which take they are. (For example Boom_01.wav and Studio Mic_01.wav might be from the same take, but Lav 1_01.wav would be from 4 takes later as I didn't roll the lav mic on the first three takes, etc.) They do all have the right timecode start and stop, so I'm hoping that helps? (No timecode to camera, just Pro Tool's own timecode timeline). Does anyone know of a simple way for me to export these files into poly wav files for the edit suite? Thanks guys!
  11. 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!!
  12. So I've been living in a 2 track world for the last several years and I've finally upgraded to a 552/744 combo. I'm definitely new to multitracking and wanted to get an idea of some of the conventions we use. Here's some thing I'd like to know, in relation to narrative filmmaking: 1) How hot should your pre-fade isos generally be relative to the mix? 2) If you don't have enough tracks for isos and a mix, do you lose the mix and set your isos to post-fade, or do you put multiple mics on one "iso"? 3) In the mix, it makes sense that you don't cover one person with multiple mics at the same time because of phasing, perspective, etc, so does this mean that in a 2 person exterior, with one boom, and a lav for each actor, that if the boom is sounding good, the lavs are out of the mix and are only going pre-fade to isos? This just seems a little strange to me because then you're not really leaving room to adjust your lavs except with trims. 4) As a mixer, I've done 2 booms a couple times (to separate tracks in a 2 track setup), but I'm always weary because each mic is picking up what they are intended to cover, and to a lesser extent, they are picking up what the other mic is intended for, off-axis. Does keeping both booms up in the mix cause any phasing or perspective issues? In this situation, does one ride the faders up and all the way down with/after each line? Can more directional mics somehow work worse in this situation, say because of acoustics? I imagine it's rare to have two open cardioids in a mix. As a utility, I've seen situations with 2 booms where the reason we were doing 2 was because of overlap with an off-screen line, but I don't know how they were routed into the 788. 5) Outside of any "problems" #4 may/may not cause, out of curiosity, is some small (negligible?) amount of phasing inevitable? Thanks, Ben
  13. I am mixing a feature film in Bergen Norway and was asked by another Canadian production company to record some Scandinavian sound effects and ambiences while I am here. I unfortunately only have dialogue mics with me for this shoot and was wondering if anyone on here knows of any sound mixers/sound designers in Bergen who maybe have mics I could rent. Thanks Guys!
  14. I'm going soon to Qatar to film a documentary that is pretty much Qatar in the eyes of a blind man. Yes i did write it correctly so you can imagine how important sound is and specially atmospheres. So i wanted to buy a binaural mic that i could record some nice atoms with during shoot and after. As mostly is going to be during the shoot, i wanted something small and unobtrusive as i am by myself. Surround mic was a nice idea, but neither budget or space allow for it, and the only small one (Sanken WMS-5) is not available to rent in the UK. Looking at good small binaural microphones, i realised most are just two good omnis tweaked and positioned to work as 1 stereo/binaural mic. I realised, i have a few good omnis in my kit, the cos11 lavs. So i decided to create a mount for them to use them as binaural. I used a pvc tube and foam inserts similar to hush-lavs but thicker: The 'ears' i made out of Sugru to have a bit of wind cover (although the sanken wind cover fits inside too), for a bit of back rejection and to make it look cool: I use 2 Ambien EMP5S to connect directly to 48v phantom, but i can also use 2 wireless if needed: The size of the tube is so it can fit on my bag for on the shoot ambience, but has a mounting screw for a stand: I was going to upload some test recordings but i figured i'll wait and upload the actual ones i'll be recording on the documentary. Opinions welcome Thanks for reading Diego
  15. Here is a bit of self promotion but it is a good read. Will post the link to full documentary soon http://blog.mixonline.com/briefingroom/2012/08/09/sound-devices-788t-gives-gold-medal-worthy-performance-for-summer-games-documentary/
  16. Hi everyone, I'm new to this board and I have a challenging situation I'm trying to work through and thought this would be a great place to seek some advice. I have a situation coming up that has 2 musicians in the back of NYC cab one is an Oboe player the other some sort of percussion (no clue what it is yet). I need to record them performing in the back of a moving cab. I asked around and was given a suggestion of taking 2Trams and mounting them on plexy on the ceiling or on the back of the seat if there is a hard divider. I've also thought about mounting a KMR81 above the mirror. I currently own a KMR81, a couple of trams and couple of B6 lavs. I have a budget to rent the right equipment if neither of these are the correct tools. Does anyone have any suggestions? or does this all make sense and should I go with it. Thanks. Jason Gillet Gillet Productions
  17. In a recent topic I had an argument about the necessity of VU-Meters. This brought me to some questions: - Do you use VU-Meters to check the average level of your recording? - What other meters do you use? - analog, digital, hardware, software, etc. - What's your experience regarding loudness consistency of your tracks using these meters? - What do you think how accurate these meters are? Until now I was happy with the VU-Meter of my 788T and a software dorrough meter. Recently I played around with Ozone5 and I love its metering options. (including VU, LUFS, K-Metering, and a spectacular 3d spectrogram) And BTW: I think it's time to introduce myself:
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