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| 09|01|2005 |
By Bob LampkinEvery year hundreds if not thousands of new terms enter the English vocabulary. It’s such a practical language for communicating complex ideas, in fact, that English has come to form the basis of a universal... »
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| 09|01|2005 |
Step 1 Carry the right mic kit Your mic kit should consist of at least one good omni-directional lavalier mic. My favorites are the Audio-Technica AT892, Sony ECM-55, or Countryman B3. All are very small, easy... »
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| 09|01|2005 |
Albert Fox Composer/Sound Designer, Mutato Muzika, Los Angeles Favorite gear: Tascam’s FW-1884 and FW-1082 Interface and Control Surfaces List: FW-1884 is $1,599 plus FE-8 Expanders ( $1,249ea); FW-1082 is... »
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| 09|01|2005 |
Finding the right archival clip is one thing—clearing the secondary music rights to the audio track that runs beneath it is quite another. There’s finally an alternative to all the hair pulling: Let the... »
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| 09|01|2005 |
By Debra KaufmanWith the debut of Over There, the new military drama from executive producer Stephen Bochco, Hollywood-based war scenes will co-exist for the first time with the images shot by embedded photojournalists. To... »
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| 09|01|2005 |
By David FarinellaIt’s one thing to get up to speed on a typical feature film, but production sound mixer Drew Kunin had to ramp up in a hurry working on the Robert Altman -directed musical Prairie Home Companion, a project... »
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| 08|01|2005 |
By David LeathersAbout half the video editors I know are musicians or former musicians. The percentage gets even higher in audio post. Apple’s Garage Band and Soundtrack programs have really captured a lot of attention... »
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| 08|01|2005 |
By Dan DaleyMaitland is doing more than recording the film’s sound— he’s making history: this is the first major Hollywood production to rely on software to capture its location audio. The fact that it’s a musical... »
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| 07|01|2005 |
By Linda RomanelloAfter running Company X, a creative editorial house in New York City’s Chelsea neighborhood for the past three years with partner/video editor Barney Miller, composer/partner Andrew Hollander has launched SugarboX... »
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| 07|01|2005 |
By Dan DaleyIf you’re seeking the conventional wisdom governing sound design for commercials, you’re going to be disappointed.... »
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| 06|01|2005 |
By Helen DalyWith its recent move to a 74,000-square-foot building in the hip Deep Ellum district of Dallas, the veteran spot shop Reel FX Creative Studios is gearing up for a major expansion into... »
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| 05|17|2005 |
By Michael GrotticelliWe all know that the mandated audio standard for HTDV is Dolby Digital 5.1 multichannel sound. How to effectively create it—in both live and studio productions—gets a bit more challenging even for the top experts in the sound business. ... »
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| 05|01|2005 |
By Jim FeeleyOne of my favorite documentary filmmakers, direct cinema pioneer Robert Drew, frequently directed as half of a two-person crew, and usually while holding a microphone, not a camera. Although I like to shoot... »
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| 05|01|2005 |
STEP 1: Keep cables short Keep cable runs short if they are unbalanced. Long unbalanced cables invite noise. Step 2 Position speakers Measure speaker placement so that your listening position is the third point... »
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| 05|01|2005 |
By Dan DaleyDirector Ridley Scott’s epic Kingdom of Heaven is aptly timed. Set in Jerusalem in 1186, this blockbuster chronicle of the first Crusade doesn’t duck the politics of religion and militarism... »
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