Rode NTG2 and F.F. Coppola

Noiz2 said:
You didn't know you were Rumanian? Wasn't that your credit we have been talking about???

And Oleg, your starting to sound like a producer "keep moving we can fix it in post". Ironically now that we have the tools we don't have the time to use them. You can make just about any ADR fit the original and look in sync now but a lot of features are down to 5-6 week schedules, every once in awhile you get some 10-13 week posts but... Never Cry Wolf spent three years in post. That was a film people bought houses with. So fixing in post is still elusive unless you have a lot of $$$.
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i guess Coppola saved enough on Romanian labor to be able make the sound good .
noiz - movies are business so every good producer knows when he loosing the money to make the sound perfect on location or loosing money to make it fix in the post .
by the way its much cheaper to make it now in states as the $ is in toilet and the budget in euros :-)
 
ESTEBEVERDE said:
Well Oleg Kaizerman is an Easter European name no?

I can imagine it with a Hebrew accent as well but I just assumed you made Aliyah La-Aretz as a young adult.

All the same to me though and cheers to you! :beer:
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you can call me to check it personally - i guess it would be less painful then deal with south US one :-)
yep came when was 10 in 76 , so my Russian is also have some" south republic" accent
 
My humble 2 cents:

If this is your first mic you will be VERY pleased. It was for me and I was, like I said VERY pleased.
Once you hear others in the $500+ range you will see why the NTG is inexpensive in comparison. However, so long as you don't mix and match with better mics in the project :) then you will be very happy with the quality of the end product. Of course I am assuming that Boom-Op and Post were performed well.
What I am trying to say is that when there is nothing to compare it to, the viewer can easily accept the sound as a realistic and pleasant sound and therefor it should not detract from the project. But of course having a better mic can however ADD to the project too. :thumb:
 
Sorry for my poor english.
Would you think the video has developed the last years and meanwhile the audio didn't need a great improvements?,well,it developed recording system, technology, soundround,post. ....But the quality of master sound not so much.
The HD audio,for example,It is a only a little improvement quality sound for the human ear because of the limit of human perception(it is a improvement, but not to much).
The greats microphones won't need develop too much (senheiser,shure...) that is why the cheap brands will have similar quality.Coppola used a Rode (not senheiser, but Rode is a good brand),I think he will be able to use a chinese micro soon (year 201?).
 
:thumbsup:
Oleg 2 said:
you can call me to check it personally - i guess it would be less painful then deal with south US one :-)
yep came when was 10 in 76 , so my Russian is also have some" south republic" accent
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AWESOME!!!

I actually would be very cool to meet you one day and hear the voice in person.
 
Oleg 2 said:
i guess you will not have any problem get a visa :-))))
by the way, my number in my signature
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Thanks Oleg!

Yes, it's no problem for me to come to Israel and get a Visa or even an Israeli passport!

I will most definitely give you a call sometime and hopefully be able to have lunch with you and maybe even be your gofer on the set for a day. :smile:
 
Oleg 2 said:
i guess Coppola saved enough on Romanian labor to be able make the sound good .
noiz - movies are business so every good producer knows when he loosing the money to make the sound perfect on location or loosing money to make it fix in the post .
by the way its much cheaper to make it now in states as the $ is in toilet and the budget in euros :-)
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Every GOOD producer. So you'll be coming over to shoot? ;~)) It's a brilliant american strategy to curb runaway productions... trash the economy. When the dollar starts getting referred to as the "new lira" we'll be swimming in productions. Well if the writers strike ever ends.
 
Last strike was 6-months long... in 6-months I'll be serving you guys coffee at Starbucks and finally get to meet you!

Hey I guess there is always a silver lining to everything!

:thumbsup:
 
I read that blurb and I am wondering why a microphone was even listed. First you don't use just one mic to record production sound. Second, what microphone(s) were used is never really discussed or advertised outside user groups.

While I have little doubt the NTG2 was used I find the whole listing as odd; perhaps Rode donated the mic for some free word of mouth?

Cheers
 
Yea, that and payed them to mention it. ?!
I bet, like mentioned here, that it was only used to get a track to use as an ADR guide for the talent.
 
Noiz2 said:
Every GOOD producer. So you'll be coming over to shoot? ;~)) It's a brilliant american strategy to curb runaway productions... trash the economy. When the dollar starts getting referred to as the "new lira" we'll be swimming in productions. Well if the writers strike ever ends.
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have enough work here .are you looking for my sympathy to USA film production and its distribution ?:-))))))
 
Like a good friend always tells me in the right hands a bar of soap can be lethal. I'm sure he has a crack pot sound team who can deal around any short coming that the NTG-1 may have. Also if any of you have done studio work I'm sure you can agree that sound engineers & music producers pick mic and preamps based on a specific sound they deliver. Sometime crappy mics deliver a flavor sort of speak that a more expensive mic might not possess.
 
yea good point... maybe the sound of the NTG adds to the concept?
that is the only way this mic would be used with big budgets but it still sounds great if you need to get a cheap mic for your own stuff

the next price point that I know of is the AT4073a which can be scored for about $400 often and I can vouch for the noticeable difference as I went from an NTG-1 to the AT4073a
as far as I know the next price point after that is more like $700~

do your research and listen to clips to compare... sometimes it may be hard to find a clip but you might get someone to post one for you
 
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ifownlee41nite@mac.com said:
Also if any of you have done studio work I'm sure you can agree that sound engineers & music producers pick mic and preamps based on a specific sound they deliver. Sometime crappy mics deliver a flavor sort of speak that a more expensive mic might not possess.
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Correct. A $90 Shure SM57 is actually FAR better on a snare drum than a $6000 Neumann U47. And so on...

Also, of course, if the drummer smashes the 57, you only lose $90. On the other hand, it's basically impossible to smash a 57. You can literally run them over with a truck and not break them. Can't quite do that with a U47... : )
 
Oleg 2 said:
are you looking for my sympathy to USA film production and its distribution ?:-))))))
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Yes! Because the US film industry has been so generous and nurturing to other countries film industries ;~O

No, we elected the idiot (sort of).
 
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