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    #11
    Senior Member ryanjf's Avatar
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    Thanks for your feedback! Not nitpicking at all - I appreciate it. The original production recording of the rifle sounded plastic, and in the interest of time (I didn't have much as my schedule didn't allow me to) I was forced to search for library material. The mix that was heard and released did not include any notes or feedback from the creators - there was simply no time. Nothing more, nothing less than that. So in a way, I sent a mix blindly HOPING it would be approved. Of course, that's not the way I normally work as I refine mixes literally a dozen or so times. For the past 4 years that I've been doing sound for the DVXFests with Alex J, Shawn, and others, I'd say I at least sent anywhere between 4-8 mixes per film prior to getting it approved. To be done correctly, money would have to be spent renting out a mix stage and in that case, I would feel more comfortable sending a blind mix to someone as the translation would be a whole lot more accurate. No I didn't record the Mauser on set as I was in a different country at the time If it was a perfect world, I would've had that same weapon shipped to me in California so I could spend a lot of time capturing all the mechanics of it. Heck, if this was a big budget show, I would budget some money actually recording a real one! It seemed as if many people's great feedback involved that particular scene and it was a challenge for me as well. For reasons that you mentioned, I was caught in sort of dilemma, but hey, I wasn't expecting this mix to be the final anyway. I didn't have a chance to rest my ears and come back to that mix. Print and go with it.

    Russell - the Foley (always capitalized - The Foley) sounds were not pre-recorded material (not from an FX library). That was me recording in an wide open/reverberant room with a SHOTGUN mic (bad idea to begin with), 2 feet away from fans spinning in an older MacPro, 3 miles away from an airport, next to a busy street As you can imagine, there was quite a bit of noise to get rid of though my recording chain has some analog noise reduction tools prior to getting into Pro Tools. Even after it's recorded, I spent time quickly getting rid of some other stuff that leaked in. Yea - not ideal but I think it worked as a last minute thing.

    For room tone to be useful, I think the recordist has to maintain the same exact gain level and mic position. Noise introduced into the signal by the mic and preamp affects the signature sound of that particular room tone. Recording room tone 6dB down and pointing the mic in a different direction might not be useful. I remember cutting dialog for a short film and the recordist actually recorded room tone! I was very excited since they were nicely labeled with the correct metadata and it made it easier for me to math the roomtone with a particular scene, but when I started cutting in the room tone for each scene - I noticed that the room tone didn't sound anything like the roomtone present in the dialogue track! It was lower in volume, more "open" sounding, and had less noise. I found out that the recordist didn't record the roomtone immediately after each scene and went back to the location 20min later or so when a few bodies cleared the room and after readjusting the gain settings on the recorder.

    I wish it was easy to place roomtone under an ADR'd line and say voila! done! But heck it's not that simple, at least in my experiences. I'm definitely nowhere near the pros when it comes to blending ADR - heck, sometimes I can even pick out ADR'd lines in major feature films so I can only imagine how difficult it must be to mix ADR in! I say great ADR recordings starts with an active ADR mixer/engineer who is willing to get off his or her chair and adjust the darn mic and really try to match the line before the line gets recorded! That combined with having the right tools, space, and a great set of ears. There are forums on Gearslutz and the DUC about some tricks about blending ADR. I think a lot of it has to do with early reflections and trying to emulate the correct space with reverb (delays, pre-delay, decay, etc)
    RJF
    Sound Editor/Sound Designer/Mixer
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    #12
    Senior Member taylormade's Avatar
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    Well, I have an original Mauser my grandfather picked up on the battlefield in France in 1918. If you need the sound for a future mix I'll be glad to record it and send you the files.
    "If they move, kill'em!"


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    #13
    Senior Member ryanjf's Avatar
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    Quote Originally Posted by taylormade View Post
    Well, I have an original Mauser my grandfather picked up on the battlefield in France in 1918. If you need the sound for a future mix I'll be glad to record it and send you the files.
    I certainly can't say no to that offer
    RJF
    Sound Editor/Sound Designer/Mixer
    San Francisco, CA
    My IMDb


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    #14
    Senior Member taylormade's Avatar
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    Just PM your email address and I'll get it off to you in the next day or two.
    "If they move, kill'em!"


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    #15
    Senior Member Lynchenstein's Avatar
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    Recording room tone. What a great idea - shows now n00b I am to this. I was busy copy/pasting bits and pieces from good and bad takes to fill the gaps, and never though to actually just record some "silence".
    A computer once beat me at chess, but it was no match for me at kick boxing.



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    #16
    Senior Member Russell Moore's Avatar
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    Thanks again...that's great stuff. I'm going back and watching the films so I can relate this info to what I'm hearing there.

    This is the kind of info I was looking for.
    the writer formerly known as "Conlan Forever"

    Need a short script?
    Have an idea? Want to collaborate? Contact me.

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    #17
    Member EJBinSD's Avatar
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    Super helpful thread, I was very impressed with the Sound quality for this Fest. For The Light Once Captured, and this probably explains a lot we were using a Zoom H4N and a Rode NGT 2 with windsock. Ryan and myself work together on a lot of projects on Poptent.net (check it out) and we have survived thus far with this set up. The H4N has very noisy preamps but can be overcome with very close micing (which can be difficult). All the foley work was recorded with this setup as well. Ryan also has a Rode microphone running right into his 5D/7D. This is nice for syncing but due to some onset problem we had to use audio from it which isnt as good. Based on the difficulty experienced on this shoot as well as our last couple efforts on Poptent all this gear will be upgraded. I'm still looking at recorders (recomendations) and I'm leaning toward the NGT-3 from Rode.

    For the score we had composed for the sub and underwater shot our composer was using a Blue Yeti usb microphone.

    Considering some of the shots, I'll work with Ryan to make sure a full equipment list is put up for this one.

    Take care ~ E.


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