gh2sound

Least Palin has another chance to fuck it all up again lol - Interior secretary lol, better than Fawlty Towers

This sums it up for me got to love the Scots
 
 

This sums it up for me got to love the Scots
 
 

As the sticky end of the stick recipient of location sound (and after many years swinging a boom and recording on 2 track DAT,  broadcast and film sets) I'd just love the operators to point it in the right direction lol. Saves me calling ADR, saves us placating artists returning 2 films later and a year later to recapture "the moment" and asking why, it's not impossible - requires balls on set and proving your talent to the director and 1st AD etc (no boom in calls!) and mostly taking the lighting dept out for beers so they'll chuck a flag in for you   
No excuse for not getting a boom inches away from artists or asking crew to move chokes, lights, turn off fridges etc etc. Personals were an absolute last resort, should always be, and lazy - if your sound guy turns up and wires everyone up, records to an 8 track and depends on post to ISO unpick the scene IMHO then you've gone low.
No-one leaves a cinema or viewing whistle-ing a two shot, but shit sound ruins the best of films.
August brings a raft of picture makers (aiming for competition submissions) who've spent everything on cameras, lenses and booze, and want ADR foley track-lay and mix for bugger all, may be the effects of schooling, but will become very apparent you can't skip audio, you can - but the viewer will withdraw from the picture and story far faster than a dodgy shot instantly with cack sound. 
Hire a great boom swinger, and post is piss easy.
Just my 2 pence
 
 
 
 

As the sticky end of the stick recipient of location sound (and after many years swinging a boom and recording on 2 track DAT,  broadcast and film sets) I'd just love the operators to point it in the right direction lol. Saves me calling ADR, saves us placating artists returning 2 films later and a year later to recapture "the moment" and asking why, it's not impossible - requires balls on set and proving your talent to the director and 1st AD etc (no boom in calls!) and mostly taking the lighting dept out for beers so they'll chuck a flag in for you   
No excuse for not getting a boom inches away from artists or asking crew to move chokes, lights, turn off fridges etc etc. Personals were an absolute last resort, should always be, and lazy - if your sound guy turns up and wires everyone up, records to an 8 track and depends on post to ISO unpick the scene IMHO then you've gone low.
No-one leaves a cinema or viewing whistle-ing a two shot, but shit sound ruins the best of films.
August brings a raft of picture makers (aiming for competition submissions) who've spent everything on cameras, lenses and booze, and want ADR foley track-lay and mix for bugger all, may be the effects of schooling, but will become very apparent you can't skip audio, you can - but the viewer will withdraw from the picture and story far faster than a dodgy shot instantly with cack sound. 
Hire a great boom swinger, and post is piss easy.
Just my 2 pence
 
 
 
 

Hi - this one's great (and cabin useable) 
http://www.pelican-case.com/1560.html
I wouldn't scrimp on price - I've bought the cheaper versions and they're not much good to be honest.
The Seahorse branded ones are o.k. and about 50% cheaper than Peli.
 
http://seahorsecases.com/Merchant2/merchant.mvc?Screen=CTGY&Store_Code=S&Category_Code=WHEELED_CASES

It's always nice to be nice - and I've got a week off lol Knowing the content he was shooting also is a no brainer to help if possible.

It's always nice to be nice - and I've got a week off lol Knowing the content he was shooting also is a no brainer to help if possible.

Welcome - do feel free to transfer it over, only take me a minute. PM'ed you me email.

Just noticed on his (eloquent) piece on this site he's also a doctor according to his sig  :
Ebrahim Saadawi is a 21 year-old Doctor, Filmmaker, and a Filmmaking Instructor, teaching both photography/videography circles throughout the country and online courses, based in Mansoura, Egypt.
I reckon it was Mr Plum in the kitchen with a candle stick.
 

 

Better than hunting Pokemon tis thread lol
Think he may own a Delorean, his age changes so frequently 
 
-Ebrahim Ebrahim Saadawi- A 19 year-old beginner/noob  to 21 year old lecturer in the blink of an eye (Sorry Walter!)
 
 
 
The young 'un

As Youtube generic videos go these are very easy on the eye (and ear!) gives some very sound advice (pardon the pun) and all worth a watch to give you an idea of the possibilities of plugin use and their similarities to "real world" hardware and pratices, check out his career building videos - solid advice there:
Michael White
Also Pro Tools Expert is a fantastic site devoid of the usual audio trolling and nonsense, and hosts a wealth of knowledge, not all necessarily related to Pro Tools :
Pro Tools Expert
I use a good friend in Germany (Düsseldorf) for some film and TV foley work, and he may be able (with a few beers) to offer some work experience if its not too far away - and to be honest what he does is "real" sound design - fiddling with Massive and Reaktor for me is just twiddling, he was trained by the best foley artists ever and never ceases to amaze me how he makes some of the sounds I request, take a peek at his site and throw me a line and I can hook you up, he's as mad as a box of frogs lol, but amazing.
Foley Lounge
 
 
 
 
 

Hi zero - it's a long old road to get to the level needed for commercial work - the main attribute you'll need to master is getting on with people (usually rooms full, all with completely different ideas lol) All the basic principles of sound engineering are exactly the same in TV, Film and Ad work, so you're looking at several years of slog and learning with little pay and long hours to absorb all the skills you'll need, sadly I don't think a youtube tutorial would help. Try looking for internships or work experience on short films as a starting point and get your head down learn and enjoy. Good luck - it's worth the time-sink and pain in the end !

Currently working with BBC on audio integration for VR - they're taking it very seriously especially nature programming.

Currently working with BBC on audio integration for VR - they're taking it very seriously especially nature programming.

If Andrew is moving back to London - that's a Zeiss every other week for a 1 bedroom flat lol - yes Europe we are mad!

If Andrew is moving back to London - that's a Zeiss every other week for a 1 bedroom flat lol - yes Europe we are mad!

Get hired - don't buy lol ? So cant wrap my head around why anyone invests in visual transient tools, when the client pays for them anyway ? Just get the job, charge it on, do the next one, when camera +1 comes out?  I may be simple, but all my colleagues who shoot all the world class shit,  hire the operators, then prod manager hires the tool as requested, they don't even own a lens never-mind a camera - not one of my director chums who shoot the shit that is beyond global big even owns a single film-making device other than a phone. Like with music - an old analogue synth will not make you the Human League - just get on with the content rather than reaching for association? Was told as a kid people who do do - people who won't talk about it a lot. Who knows eh

Get hired - don't buy lol ? So cant wrap my head around why anyone invests in visual transient tools, when the client pays for them anyway ? Just get the job, charge it on, do the next one, when camera +1 comes out?  I may be simple, but all my colleagues who shoot all the world class shit,  hire the operators, then prod manager hires the tool as requested, they don't even own a lens never-mind a camera - not one of my director chums who shoot the shit that is beyond global big even owns a single film-making device other than a phone. Like with music - an old analogue synth will not make you the Human League - just get on with the content rather than reaching for association? Was told as a kid people who do do - people who won't talk about it a lot. Who knows eh

The 24 bit thing also saves re-encoding for broadcast delivery (here in the UK anyway) as delivery requirements stipulate 48k 24 Bit files - so with ever diminishing mix times it saves a chunk of time re-sampling a shed load of audio from 96k or 16k.
Good fun isn't it jcs also when you start to push the envelope of human hearing with sample rates etc. your room and age will probably have more influence on what you hear than the actual source audio! Recording a bad microphone at 96k will give you a nice detailed bad microphone recording

Slightly off topic but fun - have a go at this:
 
http://www.npr.org/sections/therecord/2015/06/02/411473508/how-well-can-you-hear-audio-quality

I can also provide Pro Tools templates for generating all your deliverables if anyone mixes on that - could knock other variations up too for Logic / Cubase / Nuendo et al too.
I'll look at Premiere this weekend and see what's possible on that - I know stuff like TOWIE etc is mixed in AVID by the onliner, so can help there too, as is same engine and plugins as Pro Tools essentially. There are great plugins such as lmcorrect by Nugen (lovely chaps) that will take you mix and legalise it essentially to meet loudness requirements for all the formats - take a peek.
http://www.nugenaudio.com/lm-correct-loudness-correction-automatic-quick-fix-plugin-aax-au-vst_19
Also Izotope are releasing a similar solution, AFIAK it's not quite out yet.
Another handy tool, if time is of the essence, or you need a quick balance done is Waverider - essentially mixes for you to give you a starting point to reach your required loudness requirements.
http://quietart.co.nz/
Handy for providing a nice leveled dialogue premix or smoothing music cues etc. and far less intrusive than compression and limiting.
Loudness cheat sheet is in progress with all the links to metering etc. but for now I need a beer!
 
 
 
 
 

Hi - sorry just trying to hit Jazz with some direct info, was stuck in a mix - can put together a full guide if you want outlining TV, film and online delivery methods and requirements if that's of any help to anyone.

Sent you a mail mate outlining the madness
Sadly still no fully unified delivery method for territories and TV/Film/Online etc.
I will send you the specs and talk you through the process when you find out where the piece is going to be delivered.
Even in this age of file delivery I'm just about to pop a mix onto SR for the BBC this afternoon, so I still have to check every project in case they've moved the goalposts yet again, so it can be confusing!
 
 
 

Just got drunk with (whats a gathering of projectionists?) with a load of old De Lane Lea projection and film legends, who've seen it all more than once on the xmas do - verdict from the old chaps - video couldnt have been mentioned more - it is what it is