Below is hopefully a working embedded version of the Aputure’s Facebook Page and LIVE Q&A with me. Aputure kindly approached me for doing a Live Q&A spot and thankfully because of all my work on YouTube that was no problem. Already over 40 hours of chats with top level sound recordists and post production people […]
Vlogs / Live Q&A
I am once again graced with an interview with Paul Isaacs from Sound Devices to talk about the new Mix Pre line as they get ready for NAB 2017. Paul is actually heading out tomorrow so was lucky enough to grab him. I’ve fielded questions from around the internet.First of all Paul, thanks for taking […]
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.
In regards to the Sound Devices 6 series mixers (633 / 664 / 688) what are the downsides of any inputs without physical trimpots? The trim pot is what you use to increase or reduce gain to your track. The tracks without dedicated trimpots on the 6 series recorders only accept line level and though gain can be changed, it is through a menu on the screen while recording, thus limiting you to changing one at a time.
This is a great question about identifying fake Sennheiser MKH 416 short shotgun microphones on Ebay. There where more resources available online but sadly they have been taken down. Essentially this breaks down into a the following issues:
These are what different recording formats on the Sound Devices 688 / 633 and 664.
The different modes are Wav poly / wav poly (ISO Only) / wav poly (LR Only) / wav poly (X1X2) / MP3 (LR) / MP3 (X1X2) / wav mono / Wav Mono (ISO only). All of these only work if you record enable the relevant tracks.
This is a quick run down of what people suggested for cleaning cables and boom poles, use at your own risk
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:
This is a question about if there is only 1 boom operator on many productions and in what conditions are there more than 1.
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.
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 was a question from one of the previous Q&As about how essential i think IFB/IEMS are. I took this to mean buy some to use in equipment on many jobs. For that reason I would say it wouldnt be something I would look to buy early on but they do come in handy for bigger jobs or commercials when clients and agency are wanting to listen in while watching video village.
The sennheiser G3 is the best (in my opinion) bet for anyone starting out and needing a good solid wireless system. You can watch the video for the full explination but in short:
Paul Caton asked me how I prepare for recces (Location scouts) and main thing i am after depends on the whether the location is internal or external.
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 what gear I started out with and if I had to start again what would I buy. I have actually covered this in another video called “What Would I Buy With £3,000”.
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…
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.