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Found 4 results

  1. I think its always important to stay abreast of the latest happenings and technology in film so with that in mind I bought this...it is actually fascinating reading. I really like the bits on sound perspective and also that the sound recordist was responsible for the photography of sound onfilm (so had to have knowledge of developing and film) and also that often hiss on old tracks was due to silver bromide crystals not being washed out properly.
  2. Hello everyone, Wrapping up my first (true) feature in a week. I now understand what a different beast a feature is from shorts, commercial work, even broadcast. In an effort to get better at the craft, I was hoping to get thoughts and insights from you all. I'm trying to find the equivalent of "getting ahead" in the sound department. As always, I get that it depends: the mood at the moment, is the shoot behind, etc. Here's what I observed: 1. talking with the dp to see when she/he prefers to have the boom op come in. Some prefer to have the boom op in rehearsals, some want them only when 1st team is called. But once the boom op has annoyed the dp or 1st ac, I found it's a tough road back to getting cooperation from camera dept. 2. finding the balance with the 1st ad. Some prefer to be gently reminded for wild, room tone, etc. while others seem irritable to hear from sound dept at all 3. is it problematic when directors give verbal direction during a scene? Or is it only mentioned if post or the asst editor mentions it? 4. I'd love to use the downtime to prep lav mics for the next scene, as this often takes a bit of time rigging and testing, but can only do so much ahead of time before wardrobe. 5. would love to get wild, fx but again, without lock ups, probably wouldn't be helpful to post 6. tightening up the cart: organizing, cleaning, wrapping cables, cutting moleskin/topstick, inventory, etc. 7. the boom ops were kind of green, so talking with them about positioning, making friends with the 1st ac, being prepped 8. getting in sync with scripty for sound reports How do you guys spend downtime and get ahead so the day is smooth and as stress free as possible? Lastly, there are more days than not that I feel grateful to be able to work at something I love. Every so often though, I feel annoyed at how the sound department is treated on set. We're often not included in discussions regarding the scene, left till last minute to fix lav problems, put on the spot, caught between requests from post and uncooperative AD's, and generally disrespected. Camera can take as long as needed to work out technical problems, new thoughts on lighting and positions, but god forbid if sound needs a moment to reposition a lav. Apologies, small rant. Any insight, shared experience or thoughts (and criticisms) would be much appreciated.
  3. Okay, so i m a "sound guy" from a very small country called Uruguay (we´re 3 millions). I´m trying to step out into the sound world/work, but we do not have gigantic productions where one can start from the bottom and learn with the pros the way up. So sometimes its difficult to be calling yourself a "sound mixer" when actually i m learning the job as i take the gigs. These forums and other web are 49% of the help one needs, the other 51% is in the field. What i intend with this thread is to see if there are others in the same position and want to share experiences. I tend to read and search a lot in jwsound and i know most of the times the things i m looking for are in here, but not always is easy to find the correct thread. So it would be nice also copy/paste threads that you find interesting for beginners. I found the other day this guy on the web and i loved his blog http://soundrolling.com/technical-sound-blog/
  4. Hello everyone, This is a long shot, but here goes: I'm interested in doing an apprenticeship with one of the many professionals on here for a few days or so on set sound, specifically using wireless lavs and equipment and the workflow from recording through to turning over files to editorial. Ideally this would be on a real gig and hopefully this would work on nothing too high-strung. I have worked in a music studio / post production facility for my entire career now (11 years), and we're expanding with two large sound stages that I'm going to have to be knowledgable in the areas of using lavs and with set sound work flow, etc., and I'd like to learn from you! I'm no greenie, but definitely not seasoned on set. If you're willing to take me under your wing, I'll show up and assist you for the whole day or two, free of charge. I'm in the LA area. I'm not looking for credits or anything like that - just learning the ropes on how to do this gig in real life scenarios. I don't really like blabbing my credit list so I'll go over that once you've contacted me - but includes ADR Mixer for a few feature films, numerous albums and what not... If we work it out, I could possibly bring some mics I own to facilitate - such as a pair of 416s, almost every type of Schoeps, COS-11s, Countrymans, TRAMs, you name it I've probably got it. Thanks in advance, and I look forward to helping you out and learning in the process.