Alan Lloyd
Forum Replies Created
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And I’d take any one of them with a razor blade and Kodak presstapes over any hotshot FCP kid just out of school for knowing when, where, what, and how to cut to enhance a story – without calling attention to the editing, which is supposed to do just that, enhance the story, not distract from it.
(Crabby old-guy rant off…)
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Where in MN? Maybe we can be helpful backstopping each other if the need arises.
I’m in St. Paul.
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I’d rent a field mixer and three identical lavs for this one interview.
Seriously, that’s how to get good, matching audio. My good, local vendor, here in MN (Audioquip), can set up thre Sennhieser MKE-2 lavs and a Shure FP-33 for $60 for the day.
I’m not sure of where you are, or your local rental houses, still, if the audio is worth it…
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[Todd Terry] “I want a switcher where the preview output shows the inactive “on deck” bus, and then automatically switches back to the other bus when you make a cut or fade”
And that’s what it does. True “look ahead” preview with toggle.
Make sure you can hire the switcher control panel with it – punching something from a computer keyboard is not a good idea. And as I said, the thing is laid out like a production switcher. And the internal playback DVR functions are very handy.
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Where is the black level falling on your waveform?
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What do your scopes tell you?
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What do your scopes tell you?
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Todd – is there someone near you that could rent you a NewTek TriCaster for these?
They work quite well, have a number of different models/levels up to HD, and also offer recording to a file on an external drive for your archive.
Oh, and you can pre-load your roll-in material and have it as a source that begins to play when you take or dissolve to it.
If you do this, do be sure the vendor can also get you the switcher control panel – works like a standard (think GVG 110) panel, fader bar, preview and key buses, the whole thing.
Also built-in scopes – just bring a good (decently-sized) flat screen and you’re off and running.
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[Ron Lindeboom] “In cow farming terms, it is called “culling the herd,” Alan.”
All I know about cows, really, is that properly prepared, they taste good.
And I’d love to see that CL post.
That said, I’ve had a few very nice gigs off Craigslist. Not many – some, though.
And here’s one of my previously-used teaching techniques – for a sound op:
I needed someone to work booming audio for me (paying gig) and had a good friend who had done a bit of work with me in the past, could handle the days, and was quite coachable. So we went to a park, with my mixer and boom, and I gave her the directions for her practice. Put on the mixer and headphones, rig up the boom, and follow me as I walked around at random, keeping a consistent audio level.
I was not especially kind, as I changed direction repeatedly, including suddenly walking backwards, weaving through stands of trees, and the like.
She did a good job, after a few initial stumbles. It was about getting her to use her ears, eyes, hands, and feet in coordination, and forget just watching the level meters.
The client wound up quite happy with the finished product, and I do think it was a useful coaching technique. I’ve used it with others since, also – to good effect.
So, to also then address Ryan’s comment/question, teaching is always good. Real-world teaching, not theory in a classroom. Explain the “why” and not just the “how” so it becomes not a practice, but a principle, which is then transferable to other related situations.
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Mole, American, Matthews…