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Found 6 results

  1. Hello fellow soundies! I'm looking down the barrel of a reality tv gig, and want to know any and all experiences. More specifically, what sort of gear setup you had (as it is of course wireless intensive), and the workflow (ISOs/mix/lockits etc). And generally wondering if there's anything in particular on reality tv that sound crew is responsible for (such as doing commercial work we're generally in charge of/expected to provide smart slates). Anything and everything, let's hear it!
  2. I am about to work on a tv program where there is sometimes more than two interveners with dialogue (like an organised group of people). Although I have a SD 442, we are recording straight to the camera, a Sony FS7, so only 2 audio inputs. Coming from film production, my approach would be, in general, to wire the two interveners and boom, but being the first time on a TV program, I am unsure what are the usual approaches. Is it common to mix for example 2 lavs into one channel and the boom on the other? Or simply give priority to booming (which sounds more logic to me)? Thanks in advance!
  3. You guys seem to be my de facto sounding board... I am nearing completion of the first version of the FreqFinder app for iPhone and Android. It keeps track of all of your transmitter channels in use and then calculates the intermodulation products between them and tells you if any channels are being affected by intermodulation products. It is meant to be a replacement for the Lectrosonics intermod chart. It will also test all of a transmitter's options against the channels in use and provide a list of usable channels for when the need arrises to change frequencies. An add-on will provide a comparison against the fcc tv station database for users located in the US. First supported transmitters will be Lectrosonics and Comtek, but more will be added over time. The price will be $30 for the base app and $15 for the US TV add-on. Also, current front runner for the name is FreqFinder, but TXCentral is also an option.
  4. Hello all! My name is John Harton and I'm a recently graduated Sound Design student from the Savannah College of Art and Design. My wife and I are moving up to Atlanta after I get back from a gig in CA in about three weeks and I wanted to put myself up if anyone needs a boom operator or utility. I'm looking to ultimately get into narrative work and also recently wrapped my first feature as a boom op ("Christine" which shot in Savannah). I'll be at the ATL sound mixer mixer at the end of the month, but if anyone has work they need help with or have to pass up, I'd appreciate any and all the help I can get! Can't wait to get involved in the Atlanta sound community, from what I hear the sound crews of middle Georgia rock a mic like none other! Feel free to PM or call at 970-two three two- 6840 . Cheers!
  5. I'm interested to know if any of you have worked with Larry LaSota? Would've been in the early to mid 1980s and maybe into the early 90s. He worked on Family Ties, Coach, Designing Women, etc...I worked for him on Kaua'i at his video company. Just looking for some fun stories. I've caught a few episodes on Netflix that he's done and I have a little more respect for him now than when I used to hear him tell stories...just curious.
  6. Hi all, I have landed a job mixing for a tv show and am a bit worried as they tell me there will be no or very little postproduction going into each episode (churning out 5 episodes a week so the editor will have a few days for turnaround) In my relatively limited experience there is always a fair bit of work that needs to be done on production audio, aside from eqing out hum etc. My question is to the seasoned mixers of jwsoundgroup is, in general on bigger Tv productions, how does sound post workflow go? My main concern is noise reduction, which i know is often treated with outboard/ hardware processors like cedar DNS 8 for live boradcast, but how do they deal with it on TV series =/ soaps etc? Production also want me to use radio mics most of the time and i was wondering if the seasoned pros ever have to deal with cloth russle and acoustic noise at all or can it be 100% mitigated? I will be mixing direct to cam for the most part, is there any tips or advice you guys could spare? Really appriciate any help on this.. j
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