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 […]
Why Leverage? Leverage is an exertion of force on a lever to lift something. In a business context it is used in terms of give and take of a relationship. Now, the more valuable something is in this context means a heavier item you want to lift. In Business it’s like you both sitting on […]
Finding Out What I Loved To Do and Becoming A Sound Mixer. It was the dream of many that I took for granted. Growing up in a city in the north of England I knew I didn’t want to be sucked into the “system” which to me meant do a job which mimicked school. The […]
Hey Guys and Gals, Using the new platform Anchor.fm app I am starting to do more audio content to explain difference aspects of being a Sound Recordist and it’s freelance lifestyle. Anchor being like the SnapChat of podcasting makes it easy for me to also interact with you guys and gals with call in options I can […]
Not just 1 filter but 3 PopAudio send me some pop shields to try as I’m setting up a post production wing for my soundrolling brand. I really liked that it wasn’t just 1 filter fits all but 3 of them. Here is a breakdown of what I show in the video above. PopAudio Fabric […]
Well the day is finally here! WingMan Version 3.00 offers the android version. Though this has been a long time I love how Sound Devices listened and made it happen. I spoke with Paul Isaacs about Wingman in our live chat earlier last year. “Listening to our users and meeting their needs is important to us, […]
Bernie Krause is probably best known for providing soundscape recordings of nature for loads of hollywood films like Apocalypse Now. He has been busy since, recording nature around us. Bernie is a true master and teacher of wild landscapes, philosopher and through his work is able to gauge how habitats are passing us by. In his […]
There are 3 main ways that people learn and how you combine all of them. Often you get a lot of overlap, for instance video is auditory and visual heavy. I should backup and state the main ones for learning are Visual / Auditory / Kinesthetic (Doing it). Now i’ve always not had a big […]
This is just what I think about making a sound reel. Essentially to make a sound reel you need to be able to storytell. Especially in Sound Design and post production. For my location sound work as a sound recordist and location sound mixer I have decided to just give lots of different references. This […]
Hey all, so after my interview with Paul Isaacs from Sound Devices about their new line of MixPre series many of you got in touch with me wanting to know my thoughts on the MixPre vs Zoom as a starting mixer recorder. Now some of you where sound designers and some sound mixers looking to […]
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.
Plane noise is so common in my line of work, but now there is a new interactive map (sadly just for the USA for now) to be able to see basic flight paths for all the major airports. This is very useful if you want to pass this on to production to give them a better estimate of the issue of plane noise.
I answer this question by the economics of the content basically. Commercials pay more because the upside of the piece of content is much greater than the cost of it. If you do a worldwide commercial for a popular brand then they are going to make, realistically, a ridiculous multiple on the amount spent on the commercial, even if they go 2 days into overtime for everyone. Also the complexity of these projects is usually higher.
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:
I speak for my 44th Sound chat with José Frías about his sound mixing career.
Often on shoots, especially drama, you need to hide your transmitters, but often some people have complained about range issues in certain positions.
This is usually because the body is taking out and blocking the signal being sent. This is also to do with if the antenna of the TX pack is touching the actual skin of the talent. When this happens your radio mic signal range will be impacted.
This is a quick overview of what I typically have in my peli box for a corporate shoot. I’m using the Pelican 1620, great case for travelling and getting everything in.
This is a 3 parter to help you not only see what is better in terms of range but how much by and then different positions of the transmitter so you can get the maximum range. The transmitter power is 25mW which is the max for the UK.
Hey All, Made a video because people keep messaging me asking about how they can get more work from Mandy.com etc.. Job sites basically, so here are 3 of my top tips and how I even landed a feature across Europe on Mandy.com a few years ago.
I often get asked about gear and talk to people about what gear they have and which is better X or Y. There are lots of great sounding gear and many people on award winning shows all use different types of equipment.
More and more I have been overseeing productions from location sound, right through to the final mix. I have always been honing both my production and post production skills but have mainly focused on where I felt I could deliver the most value to productions. There is nothing to truly replace a great performance than the sound from the location.
I chat with Greg Albert from South Africa about his work as a boom op and sound mixer. Discussing his work in getting more involved with post production to keep the quality of his work and see it through to the end of the process.
I chat with Thomas Curley about his work on Whiplash, getting started, gear and challenges with TV schedules.
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.