Ryan Elder
Forum Replies Created
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Yeah, the school said that the audio engineer really dropped the ball. I wish the school taught us to do our own sound mixing rather than sending it off to someone else for our projects to hand in.
Plus, our professors grade us on the sound, and the sound is part of the grade, but I feel that I am not responsible for the sound, if it gets sent off to someone else, before being handed in, to be graded on.
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Oh okay, it’s just that cinematographers take that risk all the time, where they will shoot all the actors on the set in the camera.
They don’t just say let’s shoot the actors in front of a green screen, so we have more options in post. They actually make the decision to kill two birds with one stone while shooting, so I thought if DPs are comfortable doing that, why aren’t audio professionals?
But don’t you find it more work in post to have to do all that extra mixing rather than making the decisions while recording it in the actual environments? I just feel that if DPs can make that decision and live with it, without all these extra options in post, why can’t audio professionals?
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Yeah I would like to fix it myself or with possible help from someone, just not sure if we should only redo the sections with unwanted sound effects, or if I should redo everything.
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Okay thanks, not sure if the treadmill thing will work or match up in the shots but I could run some tests and see. Thanks!
I took a look at the rental stores and I even found one close to where I live. But I what understand is, is why do people rent in fact it costs more to do that, then it does to actually purchase the gear? For example, where I live it costs $180 to rent a gimbal. But at that price, if you rent a gimble for more than 3-4 days, it adds up to the price of a zhiyun crane.
Or in one of the links, it costs $120 to rent a slider. But many sliders can be purchased for around $400. So how are you really saving by renting when if you rent for a few days, it adds up to the price of buying it?
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Well this isn’t just me changing my mind, as I felt he gave me the sound mix without really giving my a choice, and saying ‘here, it’s done’, without me having any say in any of the sound effects, before it was done.
So I felt he should have kept it just in case I wasn’t happy, since I didn’t really get a say, and therefore, I didn’t feel I was changing my mind on him.
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Yeah there is music but the composer said he can fix a missing section as well, so we can try that…
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Okay thanks, I was thinking the same thing for the interview parts. It’s just in this doc, I am going to be doing some landscape shots as well, and thought 2.39 might look better for landscape, but if I am going to be mixing that with interviews, plus 4:3 archival footage, then perhaps 1.78:1 is an overall happy medium.
So if I choose between 1.78:1 and 1.85:1, I guess I might as well just go with 1.78:1 then, since it’s close, and that is what the camera naturally shoots in?
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Okay thanks, I tried to get the sound mixer to change his mix, but he already got rid of the project file.
I have all the original sounds in the OMF container and can get someone to restart from scratch, or I guess another solution would be to keep the mix as is, but just cut out the sections with unwanted sounds in and replace those, then add the sound effects in that are missing to the already mixed mix, if that would work?
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Well it’s tough cause I’ve seen documentaries that will pan and scan their archival footage to match their interviews, so I am good with doing panning and scanning, or keeping the original aspect ratios and mixing them. I am good with either or, so I was wondering what most viewers would prefer.
I’ve been thinking about which aspect ratio to compose in. If there is hardly any difference between 16:9 and 1.85:1, then why do so many filmmakers till use 1.85, instead of just using 16:9?
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Okay thanks, but rent if from where though? All the rental store in my city, has is tripods.