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 […]
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 […]
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 […]
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.
I was asked what I use for wind cover on my radio mics. When I must i use Rycote Overcovers or Undercovers to help with wind noise but usually it can try to make it better by changing the placement of the Lav. Let me know what you use in the comments.
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 speak for my 44th Sound chat with José Frías about his sound mixing career.
Micah loken responded to one of my other youtube videos and happens to be the dialogue editor on a number of current US TV shows like Homeland.
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.
Firstly your degree doesn’t matter for the following reasons when going into a technical skill like sound recording:
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.
That’s it really… enjoy..
Hey everyone, Matt from Soundrolling.com here, chatting with Tania Payne from Australia today who is does both sound recording and post production on shorts and documentaries, It’s great to have her here to offer insights from being earlier in her career like most of the readers at Sound Chats.
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 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.