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    #31
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    Quote Originally Posted by lambert View Post
    You can immediately after each scene record audio Without cameras rolling. I know a guy essentially making omb feature length niche films that were very profitable using that technique. Many scenes were recorded in a makeshift sound booth/Trailer on set of popular ex-spy in Miami tv series.
    I like the dubbed look and sound sometimes. QT uses it in a nostalgic genre sort of way. Overseas, everything was dubbed anyway.


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    #32
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    Quote Originally Posted by lambert View Post
    My classic director error is thinking anyone wants to see anything I direct.
    Ooooo, i’d watch that!


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    #33
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    Join Date
    Jul 2009
    Location
    indiana/austin tx
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    665
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    Filming with sound at same time is to complicated for me. I’ve decided since I have a jar of peanut butter, ridiculously darling tiny costumes , and incredibly low artistic standards to make a talking mule animal circus Buddy road picture. I suggest rewriting all projects to eliminate all actors who are not vaccinated against parvo.


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    #34
    Senior Member
    Join Date
    Dec 2005
    Location
    Northern California
    Posts
    1,056
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    Related to this topic, another mixer just reminded me of Greensleeve, digigreen and digiblue sleeves for boom poles. Developed by A-List Oscar-winning mixer Simon Hayes in conjunction with some VFX people. If you're working in front of a greenscreen (and you already have a green Schoeps ), these could be useful:

    Greensleeve
    "Born out of a collaboration between the Sound and Visual FX departments on feature films, the Greensleeve allows boom poles to cross behind real foreground elements in greenscreen and bluescreen environments."

    greensleeve.jpg
    ----------
    Jim Feeley
    POV Media


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