Elly Sheridan
Forum Replies Created
-
Hmm, my primary goal is to tell a story without the audio getting in the way by being distractingly bad, I see good audio and good cinematography as good grammar, that’s all I want to achieve really
-
Rob – Aha, of course I’m not going to learn everything there is to know about audio in that time, but enough to do an alrightish/make do and mend job, hopefully. You’ve said so yourself you don’t know everything about audio (although most probably way more than I’ll ever know) and yet you’re presumably hired to do audio
Thanks, Ty Ford, I’ll look into that book, it looks very helpful
-
Yeah I know of the main problems and solutions, like the ones in this audio scratch-the-surface introduction https://mubi.com/topics/30-minute-film-school-v-the-good-the-bad-and-the-audio. Plenty of time to get acquainted with the problems and the common solutions. If not I’ll hire a recordist with their equipment
-
Yeah I was always considering renting, had a look around bhphoto, it’s all very expensive.
I’ve had help from some people one of them being a sound recordist themselves, learnt about room tone, levels, clipping, booming etc, and I’ll go see if there’s some sort of training I can get as well, thanks for the suggestion
-
Yep, will do, thanks. Funding is out of my control and is being determined by the producer, but it seems that it’ll probably be around $2000. For other equipment I’m going the DSLR route (5D or 7D), lighting is currently unspecified, will probably use available lighting when possible, and DSLRs don’t need as much lighting as film cameras. As for grip a dolly and tracks, a jib and a zacuto sniper rig
-
Thanks
Hmm, yeah it would be nice to have a sound recordist but they seem invariably expensive, the budget’s already been stretched by crew members, seems better to just figure it all out, can’t be that hard. I’ve got until september/october. If I can’t get good sound by then I’ll be forced to hire one