Does anybody pay attention to the real results of MattinSTL's B-S?

You and everybody else... including ME.

I do sound for cameramen that also do sound when there's not enough camera work... that has played HELL on me this year, because when things get slow... suddenly half the cam ops I did sound for... are now doing sound for the other half of the ops I did sound for.

Things have been picking up... I've got a couple gigs this week... but yeah... your sound comment isn't too far off.
 
Just messing with you, Matt. I just got tired of the BS.

"Waiting on the sound guy" "What's up with sound" Limited budget, while seeing camera dept flush with cash, the list goes on.

Even with an audio degree, the competition is fierce, because there is always someone who does not understand sound (just like the production staff) ready to step up and say they can do it cheaper. But nobody seems to realize, the f-stops and such really can be translated into the same aspect of sound. 5-10 degrees of directional change of a mic can and does make a huge difference in the end. Handling a boom properly and quietly is not as easy as it looks.

I just said screw it.
 
lol. The thread is pretty funny. Mark starts it out filled with compliments. Then, it morphs into a Dean Martin-style roast.

Matt's a forward guy. During one of our first conversations, he asked if I wanted to see his high quality 12 foot cable. *Schhhhaaawing!*
 
Trust me Rick... if the title didn't tell you it should have... this thread STARTED as a roast.

Welcome to The Wack-Pack... do you wanna' hear my George Takei impersonation? Here it goes...

"Oh my..."
 
And for the last time... "Hey baby, can I put my boomer in your wind muff" DOES NOT WORK! It just comes over as creepy, Matt, and frankly is tinged with desperation...
 
Nice guy for sure and is very helpful in the forums. Also, he's from St. Louis like me! Oh, and my mom knows him.

-Josh
 
ugafan said:
i can't think of another guy i'd rather hold my boom pole.
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"Oh my."

090203-george-takei-02.jpg


(I actually made this post before reading #25. Great minds think alike, Mattin)
 
i never really trust those sound guys. they're always walking around with headphones on pretending they can't hear my directions. yeah, maybe i would fall for that crap if you weren't holding a $2,500 microphone whose sole purpose is to, i don't know.. DETECT SOUND! you expect me to believe you can pick up a whisper from 25 feet away, but you can't hear me screaming at the top of my lungs to get your equipment out of my shot? what do you have those headphones connected to anyways, an ipod? you're not fooling me. i've watched that rick astley video so many damn times that i can immediately tell by your rocking back and forth what you're really listening to matt.
 
ugafan said:
i never really trust those sound guys. they're always walking around with headphones on pretending they can't hear my directions. yeah, maybe i would fall for that crap if you weren't holding a $2,500 microphone whose sole purpose is to, i don't know.. DETECT SOUND! you expect me to believe you can pick up a whisper from 25 feet away, but you can't hear me screaming at the top of my lungs to get your equipment out of my shot?
Click to expand...

A good audio compressor will drastically reduce the signal level upon detection of an incredibly loud sound. Most of us have one in our bags/on our carts that have ratio settings starting at 1:1 (1 dB of signal increase in equals 1dB of increase on output), moving to 10:1 (+10dB on input = +1dB on output), and ending with a catch-all setting of Director:-50 (or DP:-50).
 
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