I am Directing a short I co-wrote and will be doing the post on.
POST SITUATION:
I will be mixing the Score which will be recorded in FL by a pair of friends. The engineer went to Full Sail in Florida and will be working in the other guy's studio with ProTools. The both are f**ing brilliant song-writers. Both are also musicians, but the guy with the studio is especially "elocuent" with the guitar, piano and drums. I also have several more talented friends with their own studios and I have several contacts for other music already recorded. I'll also possibly get some free songs from signed artists I know that are in the heavier development stages of their contracts with their Lables.
I also have a decent closet A.D.R. booth with up to 5 (five) 8lbs. cotton sound blankets covering the walls that will work like a charm for the interior ADR, and it should be good or decent for the 100% urban exteriors that we have. But I'll go mobile if I have to with Sound Forge on my Laptop and an external 48kHz 24bit mixer. Those tracks should be plenty good for matching them in reverb and whatever EQ's I have going on in the HVX's 48kHz 16bit boom track. I'll even do what I did for a cemetery scene before where I went to a deserted park with the Zeppelin on a C-Stand for zero reverb ADR.
I also will do as much Sound Design as it could use. I plan to be just as diligent with the FX recordings as with the A.D.R. and I plan to mix them in, likely with others I may have that are needed.
LOCATION-AUDIO SITUATION:
I have all the boom gear: MixPre, lots of XLR, AT4073a, MK-012a with the HyperCardioid, K-Tek Zeppelin, K-GPS shock mount and a K-Tek Avalon 9' 2" boom.
I could use a longer CF boom, but the Avalon handles, at least, nicely. It isn't the longest, that's for sure, but it should actually be plenty good for our small and medium sized locations: Two apartments, Two exterior building hallways that will allow for hiding the boom perfectly for the full wide shots or just straight up booming the mediums, two shots and close ups, and finally it should also work well for the bar-sized Comedy Club where it should be just fine and where I will also put up up to five of the sound blankets.
Right now we are planning on using my equipment and the Op will do his own levels on my MixPre. I will monitor from the HVX I guess since that will be the actual track getting recorded. But I still don't know how I will take it to the the monitor my DP is bringing for me. Though I might be plug my MDR-7506's right into the camera as often as I can (looking at Carrion).
So what I am trying to say is that I will do my very BEST I can for the sound, cause I get it.
CAMERA, ELECTRIC AND GRIP SITUATION:
We do have it all for the picture, already, thanks to my DP coupled with what I have myself and thanks to some additional very nice help from CordVision's (SGpro R.3) and, Siniarch (Carrion). We will also have a full set of best-in-focal-length prime Nikons from both CordVision and Siniarch. All together will have: 24mm, 35mm, 50mm, 85mm, and 200mm, with an Arri Follow Focus all to my HVX in 1080p.
I also have two dimable 5600k fluorescent 1000W and 500W soft lights. And one soft 650W 5600k with two C-Stands and flags/bounces. But my DP will bring some big guns and some 300's to paint with coupled with just as much grip gear with flags-bounces and scrims.
We will also 90% likely have Steady Cam op from the biggest of prime time TV, with his pro Steadycam package, for one of the sections in the story that call for it. Through the complete length of the short, we will also have a Rowe Cine dolly and a small 6-12 ft. jib available for when it calls for that.
Also, a question to you gurus:
Which headphones should I give my Op and which should I use for myself? I have the MDR-7506's and a Senheisser HD280 Pro's 64 Omhs.
I was thinking to give him the Senheisers since they isolate way more so he can hear only the track and it just might help on very quiet sets to keep them loud and off the track itself. Also I like the idea of using the lighter
and clear MDR-7506's. Well they may not be that much better in sound, or nice of me to give him the phat black hot ones in June, but I also know them better as I use them on the computer a lot when i am editing late at night and I can compare their sound to the 20/20p's that I have at home.
POST SITUATION:
I will be mixing the Score which will be recorded in FL by a pair of friends. The engineer went to Full Sail in Florida and will be working in the other guy's studio with ProTools. The both are f**ing brilliant song-writers. Both are also musicians, but the guy with the studio is especially "elocuent" with the guitar, piano and drums. I also have several more talented friends with their own studios and I have several contacts for other music already recorded. I'll also possibly get some free songs from signed artists I know that are in the heavier development stages of their contracts with their Lables.
I also have a decent closet A.D.R. booth with up to 5 (five) 8lbs. cotton sound blankets covering the walls that will work like a charm for the interior ADR, and it should be good or decent for the 100% urban exteriors that we have. But I'll go mobile if I have to with Sound Forge on my Laptop and an external 48kHz 24bit mixer. Those tracks should be plenty good for matching them in reverb and whatever EQ's I have going on in the HVX's 48kHz 16bit boom track. I'll even do what I did for a cemetery scene before where I went to a deserted park with the Zeppelin on a C-Stand for zero reverb ADR.
I also will do as much Sound Design as it could use. I plan to be just as diligent with the FX recordings as with the A.D.R. and I plan to mix them in, likely with others I may have that are needed.
LOCATION-AUDIO SITUATION:
I have all the boom gear: MixPre, lots of XLR, AT4073a, MK-012a with the HyperCardioid, K-Tek Zeppelin, K-GPS shock mount and a K-Tek Avalon 9' 2" boom.
I could use a longer CF boom, but the Avalon handles, at least, nicely. It isn't the longest, that's for sure, but it should actually be plenty good for our small and medium sized locations: Two apartments, Two exterior building hallways that will allow for hiding the boom perfectly for the full wide shots or just straight up booming the mediums, two shots and close ups, and finally it should also work well for the bar-sized Comedy Club where it should be just fine and where I will also put up up to five of the sound blankets.
Right now we are planning on using my equipment and the Op will do his own levels on my MixPre. I will monitor from the HVX I guess since that will be the actual track getting recorded. But I still don't know how I will take it to the the monitor my DP is bringing for me. Though I might be plug my MDR-7506's right into the camera as often as I can (looking at Carrion).
So what I am trying to say is that I will do my very BEST I can for the sound, cause I get it.
CAMERA, ELECTRIC AND GRIP SITUATION:
We do have it all for the picture, already, thanks to my DP coupled with what I have myself and thanks to some additional very nice help from CordVision's (SGpro R.3) and, Siniarch (Carrion). We will also have a full set of best-in-focal-length prime Nikons from both CordVision and Siniarch. All together will have: 24mm, 35mm, 50mm, 85mm, and 200mm, with an Arri Follow Focus all to my HVX in 1080p.
I also have two dimable 5600k fluorescent 1000W and 500W soft lights. And one soft 650W 5600k with two C-Stands and flags/bounces. But my DP will bring some big guns and some 300's to paint with coupled with just as much grip gear with flags-bounces and scrims.
We will also 90% likely have Steady Cam op from the biggest of prime time TV, with his pro Steadycam package, for one of the sections in the story that call for it. Through the complete length of the short, we will also have a Rowe Cine dolly and a small 6-12 ft. jib available for when it calls for that.
Also, a question to you gurus:
Which headphones should I give my Op and which should I use for myself? I have the MDR-7506's and a Senheisser HD280 Pro's 64 Omhs.
I was thinking to give him the Senheisers since they isolate way more so he can hear only the track and it just might help on very quiet sets to keep them loud and off the track itself. Also I like the idea of using the lighter
and clear MDR-7506's. Well they may not be that much better in sound, or nice of me to give him the phat black hot ones in June, but I also know them better as I use them on the computer a lot when i am editing late at night and I can compare their sound to the 20/20p's that I have at home.