Why Was KTek KBAC1 Made? The KTek KBAC1 is a solution for sound mixers and recordists that are also booming. Typically this is the situation for single talent on camera or in a documentary kind of case. This is rather than strapping your boom pole lengthways to the front of your bag which can make it more […]
Using your faders is key to mixing, so I wanted to share 2 tips on faders ratio and levels to help try to make your mix smoother on location.
This answer will change drastically depending on your line of work but for me I can have the all in one unit solution a then if i need to expand i can put a mixer in front to interface with it as a recorder.
When it come to crewing and getting a film together the most expensive element of the film is usually the crew cost for labour followed by rates for different departments. Lots of people however with the price of mid tier cameras dropping all the time automatically think sound is doing the exactly the same thing. This is because they have worked with lower cameras and also where the sound was done on a zoom.
Time > Money > Quality > Time > Money….. Depending which outcome you want you need the other too. If you want to make a lot of money on a project then you need time and quality to be able to market it. If you want quality you need time and money. If one is missing then you have to compensate more with another.
This is a question about how I prepare for short films and indeed for any shoot. Main pointers are as follows:
I haven’t had much real world experience with them but i think for the price I would air more on the side of investing the the Sennheiser G3 set. For the expense and amount of uses from them I don’t think that much of them.
This is a great question that comes up all the time about cover letter. I cover lots of detail in the video but essentially short, sweet and all about how you can add value to the production.
This wasn’t a direct question but I know something that comes up a fair bit for people in all levels of the industry and so this is my approach if i am not given the time or resources to be able to achieve something that would improve the production, such as off lines or wild tracks.
Someone asked me when the best time to get wild tracks on location sound recording. Wild tracks is quite large meaning for wild lines or sound effects and even ambiences sometimes. So depends on your meaning, so lets break this down:
This is a common issue especially for newer freelancers, work drying up. The trick is to be able to predict these dry spells as best you can. Often your client base will be made up of a mix of people making regular content but some may make 2 projects a month, some 1 project every 2 years. Having a wide array of clients and project types should keep you working all year round.
I was asked if I always dual record (Record onto 2 separate media sources like an SD and CF card) all the time. Generally yes unless it is for transcription where I then record 1 as just an MP3 stereo file and another as a full BWAV file with all the ISO tracks etc…
The video below will automatically skip you to the right section of the video bit essentially it’s a 2 part answer to recording sound FX on the fly while doing location sound work:
Chris is well known for running the LA sound mixer facebook group and location sound work on numerous TV shows.
Kevin started out professionally in sound working for Marriott International in Chicago, IL and was an audio video technician with them for 13 years. During that time I earned an ‘Expert’ audio visual certification from MVP, a training organization for Marriott based in Houston Texas.
I chat with Ben Osmo, Sound Mixer on Mad Max and we talk about his work on Babe 2, Happy Feet and the challenges of animation and mocaps, we talk about headphone levels in recording Mad Max and some of the workarounds he and his team had to deal with.
Third generation L.A. native, son of an Audiophile Guru and cousin of R.E.M.’s Peter Buck, Daniel landed his first major industry gig at 22 with legendary music producer T Bone Burnett (O’ Brother) after attending a sound production course at Citrus College in Glendora, CA.
I chat with Jeff Wexler, Creator of JWsound and all round sound guru and pioneer! We talk about the future of the industry and the current challenges facing us moving forward to preserve the craft of mixing.
I should firstly point out that this isn’t an interview with myself Mathew Price did the production sound for The Sopranos.
I chat with Lincoln Morrison, known for his work on shows like Ice Road Truckers.
I have a chat with Syahrizal Fahlevi about production sound mixing in Indonesia.
I chat with Simon Hayes about his career and his equipment and where he thinks the industry is heading in this mega 2+ hour chat.
Robert Sharman Is Known for: Little Miss Sunshine (2006) | Scrubs (2001–2010) | Thank You for Smoking (2005)
Mark Weingarten is an American production sound mixer. He has been nominated for threeAcademy Awards in the category Best Sound. He has worked on more than 80 films since 1987. In addition, he won an Emmy for the television show The West Wing.
A Mix track is used to give the picture editors a good start point to work with the visual and audio tracks without doing any dialogue editing.
The mix track is usually one or two tracks (L/R tracks) that is your mix of usually multiple sources and inputs. The 2 track/channel mix track will usually have Boom or several Boom mics panned to the Left (Track/Channel 1) and any wireless radio mics panned to the Right (Track/Channel 2). The video editor will then choose 1 of the 2 mixes and mute the other unless 1 becomes really poor as a reference for directors watching different video edits with sound.