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 […]
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 […]
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.
Unfortunately as great as Sound Devices Powersave function is on the SL6 is to increase the time on it, I can rarely when it is in my bag change it without running out of time. It’s great that it has quick boot but if the time was able to be 20 seconds then my recorder and radios would be extra safe in long takes or power changing situations.
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.
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:
This is a very broad question but I would use the rule of context. If the space is meant to be small and intimate then filming in an aircraft hanger is going to ruin that. I have never had much success taking out lots of reverb so its all about communicating to the client and going on a recce so you can try to get them to choose a new location.
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.
Continuing the theme of getting more work as a freelancer I wanted to cover the concept of focusing on what you have instead of what you haven’t. Might sound silly but in practice is very lucrative as you maximise value to the clients that keep hiring you and in turn become more appealing to other clients through referrals and word of mouth.
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 own a SuperCMIT and have done for over a year now and do think it is an excellent tool because you are still able to record an unprocessed channel and a processed channel with its noise reduction algorithm. This means that at the worst case if post production (often me doing it) I can use something like Izotope’s RX5. If I am not editing then I can give them a clearer signal that the client love.
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.
I was asked if it was a sensible move to go to London to further my career. For me it was because I was based in Dundee in Scotland before. Being 500 miles away from what is arguably the Cultural capital of the UK It just made the most sense. Here are a few factors you have to weigh up when moving to somewhere so expensive and big.
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.
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.
Journeyman Book: http://amzn.to/2hCwulD Journeyman is an authoritative, accessible and at times irreverent, retrospective view of the most significant decade of digital development in the professional audio-for-picture sector; written with humour and passion from first-hand, operational experience. Neil Hillman is an award-winning Sound Designer, Re-recording mixer, Sound Recordist and Outside Broadcast Sound Supervisor.
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.