Re: Sound Design
Tom for most of the production mixes we use the DEVA recorder clubbed with a mix of the Schoeps/Sanken/Nuemann/DPA/Senheisser situational dependent. Cooper and the Sound devices are at my disposal too. A lot of the run of the mill stuff gets recorded apart from the wild, wierd, the sounds crazy but i can use it somewhere stuff.
I think my post got a little misdirected and I am totally responsible. Well I started out with this post because I want to explore the use of s/w for Sound design and get input from people on the forum.
My deviation from the above point was a sound editors complaint i guess anywhere in the world.... tough time frames, budgets, quality, blah, blah, blah
Though its like mom repeating the same thing over and over, i think its also great we keep reminding ourselves about the basics, it about the film and not about the tools and I agree totally. Also since most people like me remind Walter Murch for the obvious yes it is notable to remember the era when Mono sound was prevalent. I grew up and worked in the Digital era where dubber and multi-tracks were phasing out and mono sound was for the insane. Yet at time when I look back and watch some of those films it always amazes me, they got all that sound out of 1 Channel.
Yes we do Sound Visualize our scenes to give it a charachter and a definition. We have a problem getting a film-maker on the same page some time because he is so used to standard stereo types, but heck we keep trying like dogs with crooked tails.
|