Podcast #128: We chat with Kent C Dodds about why he loves React and discuss what life was like in the dark days before Git. Listen now.
5

no one answered, but I think use a dynamic first. Your skateboarder is gonna want a few practise runs, so go with them when cameras not running and record up close with a 57. This will catch the loud grindy sounds up close. Then you can do the boom recording with your rifle probably the senny, you'll catch a more delicate sound. And then you can composite a ...


4

What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably ...


3

Hi Itamar, I don't think you need to over complicate this, but there are a few questions you need to ask yourself. Which recorder are you using? How many tracks does it record? Ideally you will use both mics, but you need a 4-track recorder. Can you also get boom poles, rycotes and stands for all of these? What shots is the DOP using, and how does this ...


3

The frame lines will be crucial, so good communication with DoP. How about hanging some blankets off-camera? You can go wild treating the space, but how much of that will be practical? p.s. can you treat the floor?


3

How do I input two mics simultaneously on a Laptop? To be able to input two mics simultaneously on a laptop, you need a two channels audio interface with two mic inputs. Using one interface for both mics will guarantee that both signal are digitized by a common clock, which is a must for your application. There are numerous options for such an interface, ...


2

You might want to have a look at this article about Chuck Russom's recording sessions for his Skateboard HD library. It may also be worth getting in touch with Chuck to find out a bit more from the man himself.


2

This is not exactly an answer to your question, but for a while now I've been trying to think of what could be a useful lightweight rig for recording ambiances. I thought I might of found it a while ago in the Telinga SSM partnered with a small recorder providing plug-in power. I saw this shot of one mounted on a gorillapod: It would probably all package ...


2

for AA go with Eneloop (originally Sanyo now Panasonic) and slow charging of 4+ hours. If you'd like to research other low-self-discharge NiMH models, please share your findings.


2

Sound Mixer or Sound Recordist


2

I haven't worked with the PCM 100 yet so it may outperform my recommendation, but I would go with the PCM M10 as your bit bucket. Instant on, battery life for days, memory rolls over from internal to the SD card seamlessly, and its the size of a cell phone. You'd need a small 2 channel preamp to go with - I use the SD mixpre with mine. Sounds great, ...


2

If you're looking for something extremely compact, the new Sony PCM-D100 is fantastic. It's the best you'll find in such a small package. Other than that you'd be looking at a 702 and small blimp setup as you've mentioned. I've travelled through Nepal, India, Australia, and Cambodia with my 702 and an MS pair of Schoeps CCM mics in a rycote blimp and ...


2

As georgi said, knowing the frame will be (and actually always is) very important. Being able to get the mic even just 1 foot closer will be a noticeable improvement. As for sound blankets/baffles, it depends on the space. If it's huge and open, then putting up baffles and keeping them out of shot might be too much effort for minimal gains. One thing you ...


1

On Mac, user configurations would always be saved to that account's own Library ~/Library, then in either /Application Support/, or sometimes for shared audio plugins etc, in /Audio/. Specifically for Audacity chains, they're in ~/Libary/Application Support/Audacity/Chains/


1

Don't mount an M10 to your head. You're going to get all kinds of sound transmission / handling noise (i.e. unusable audio). Put it in a shock-mount system akin to a this rycote system and use the windscreen. Yes, they shed, but if you brush them the loose hair will usually come out and then you're good. Yes it's expensive and will cost up front, but it will ...


1

What I've done in the past is have a couple of cheap (£20) tie-clip mics in a rucksack. If you use a bag with a top flap rather than a zip-up bag, you can clip each mic to either side of the flap, or attach them to the shoulder straps and have all the cables out of sight inside the bag. I've done this for discreet recordings, and for walking around. With ...


1

I really like using my RODE microphones and I think they are great microphones to start out with. What microphone are you thinking of buying? If you are field recording and doing some foley work; I would go with the RODE NTG-3 because it's a great mic for the price! It also captures great dialogue if you ever wanna go on production and boom-op. I never ...


1

The 416 may get you more business based solely on its reputation. It really surprised me in its performance for voice over. I've heard they sound nearly identical, but haven't heard anyone comment on 1 The NTG-3's durability over several years of abuse (naturally; it's a new mic) and 2 Using it for voice over work.


1

I dislike my 416 indoors very much, the rear lobe is rough in reverberant spaces. I prefer cs3 or mk41 indoors. Outside I love the rejection of the 416. I cannot comment on the rode, no experience with it.


1

I've used both... I was in the same position... about to buy the Rode when I got an offer on a used 416 for only a few bucks more. I have to say I much prefer the 416 so I went for it(however that was bought from a production I'd actually worked on so I knew the mic and it's condition). But mics ARE a subjective thing. If you can rent both for a day, it ...


1

I dunno.. getting tired of these "this mic is standard and this one isn't" arguments.. I know people who hate the 416 intensely. Then, in field conditions, Røde haven't had the experience Sennheiser have, but that still leaves you with extra money if you "risk it". I don't think you can go wrong with either mic. Last but not least, there are fakes going on ...


1

The 416 is a much more standard mic at least here in the US. It's used for a lot of ADR, SFX recording and voiceover for commercials. If you work or plan on working with other engineers, studios etc. it could be nice to have the "standard". The tight pickup can be nice for ADR so that you don't hear the room.


1

My answer falls under the category of "fix it in post". If all else fails (and I do hope you exercise all options during production), then UNVEIL from Zynaptiq absolutely works miracles. ADDITIONAL: Another "fix it in post" solution is this box, which IMHO is nothing short of straight-up voodoo and black magic: http://www.izotope.com/products/audio/anrb/ ...


1

Great question. Vancouver is a very noisy place. I have had some success recording up at the Cypress Bowl parking lot. You may get some birds in your recordings though if you go at the wrong time (dawn and dusk) It's a great place to go just as the ski season ends in early March. As for other areas, it can be really hit or miss. Due to the lay of the ...


1

While i was there, me and a friend found a small abandoned airport, one hour southeast of Vancouver. We drove there after dinner just to record torches, we ended up leaving at 2PM, the place was great!


1

I am a chatty Karol.....I am a dialogue mixer, ADR mixer, Dialogue editor....me loves the chatter. I live in LA.


1

Sound editor/designer in Hollywood California. Started cutting on film using a Moviola when as a sound editor you had to know how to do it all. Dialogue editing, sound FX, Foley, ADR, backgrounds etc. It gave you the broad view and an understanding of how everything worked together. A great way to learn. Worked non-union at first the way you did back ...


Only top voted, non community-wiki answers of a minimum length are eligible