gh2sound

It's patently obvious he (they) are still completely bullshitting at every turn, easy solution - email every person connected to them on social media, get their address, send a copy of the "admission to the crimes" to Western Union as evidence (as they will investigate the fraud also independently) and the authorities in Egypt, and get back to normal (now) slightly mundane camera service lol.

http://www.desktop-documentaries.com/10-elements-of-a-high-quality-image.html Says you're 21 in this article oops

Just noticed on his (eloquent) piece on this site he's also a doctor according to his sig : Ebrahim Saadawi is a 21 year-old Doctor, Filmmaker, and a Filmmaking Instructor, teaching both photography/videography circles throughout the country and online courses, based in Mansoura, Egypt. I reckon it was Mr Plum in the kitchen with a candle stick.

Better than hunting Pokemon tis thread lol Think he may own a Delorean, his age changes so frequently -Ebrahim Ebrahim Saadawi- A 19 year-old beginner/noob to 21 year old lecturer in the blink of an eye (Sorry Walter!) The young 'un

Be careful of internal routing booms - you will get creak and pinging if not properly dampened.

As Youtube generic videos go these are very easy on the eye (and ear!) gives some very sound advice (pardon the pun) and all worth a watch to give you an idea of the possibilities of plugin use and their similarities to "real world" hardware and pratices, check out his career building videos - solid advice there: Michael White Also Pro Tools Expert is a fantastic site devoid of the usual audio trolling and nonsense, and hosts a wealth of knowledge, not all necessarily related to Pro Tools : Pro Tools Expert I use a good friend in Germany (Düsseldorf) for some film and TV foley work, and he may be able (with a few beers) to offer some work experience if its not too far away - and to be honest what he does is "real" sound design - fiddling with Massive and Reaktor for me is just twiddling, he was trained by the best foley artists ever and never ceases to amaze me how he makes some of the sounds I request, take a peek at his site and throw me a line and I can hook you up, he's as mad as a box of frogs lol, but amazing. Foley Lounge

PM me your email - happy to give you some help if you want sir.

Hi zero - it's a long old road to get to the level needed for commercial work - the main attribute you'll need to master is getting on with people (usually rooms full, all with completely different ideas lol) All the basic principles of sound engineering are exactly the same in TV, Film and Ad work, so you're looking at several years of slog and learning with little pay and long hours to absorb all the skills you'll need, sadly I don't think a youtube tutorial would help. Try looking for internships or work experience on short films as a starting point and get your head down learn and enjoy. Good luck - it's worth the time-sink and pain in the end !

Currently working with BBC on audio integration for VR - they're taking it very seriously especially nature programming.

No-one whistles a 2 shot at the end of a film - it's a game of 2 halves Good picture + bad audio = bad experience, bad pics and great audio = well you know the answer. You can't skimp on good audio, if you want a great end result.

From a mixers perspective - please - never (please!) use a camera mic for interviews. It's always going to reduce your perceived product appreciation by a great deal. It can't be helped in post - we can't polish the turd, just sprinkle it in a little glitter I'm afraid.

Clarksons new "Top Gear" is being filmed in 4k currently (chum is Post Production manager on it) as is, AFAIK, all of Amazon's new output. So yes UK wants and is going down that route, although mostly all the terrestrial stuff I've been on in the past year or so hasn't been 4k shot (Sky, Warners, Shine BBC etc) Missus's company did "Muse Live in Rome" in multi camera 4k in London also, and recently mixed the Quentin Tarrantino record of Ennio Morricone at Abbey Road which was 4k.

Yup - can't beat the 'ol Swiss ! Erased a few tapes accidentally leaving the record head in on rewind in my time lol.

And mixed programmes for Makers studio last week bought by Disney for 300-400 million who PDP is a presenter for among the others they signed who have a gazillion viewers - same production values as per TV - same rates, another outlet for us film and telly "workers" - was shot well tbh and graded as per broadcast values.

Problem with pictures is intrinsically the same as sound - sound recordists capture the source impeccably as they can, then mixers mix - cameramen capture as impeccably as they can the required footage, then editors and graders make the end result, no? Don't worry about "in camera" you aren't (possibly) a jobbing and stellar grader or editor - you will not finish it - the client doesn't want you to - capture it. The prod manager and director has no interaction with you - the flesh interface in a "real world job" don't worry just point the cameras they've chosen and don't fuck up, cash 30 days later - 99.9% real world. 'orrible isn't it, but so so 24/7

If Andrew is moving back to London - that's a Zeiss every other week for a 1 bedroom flat lol - yes Europe we are mad!

The missus's company made the Muse 32 camera 4k live Rome shoot DVD last year - and post watching it, thoughts for me - did it enhance the experience? - added nothing emotionally personally - added in post a world of expense and struggle - of course. Worth it? Personally nope as a punter. Hendrix Electric Ladyland mono vinyl still to me is the better sounding of all its incarnations - less sanitized more visceral, beauty is the imperfection of perfection (paraphrased and forgot who said it) and a bit of filth for me tends to be good.

Get hired - don't buy lol ? So cant wrap my head around why anyone invests in visual transient tools, when the client pays for them anyway ? Just get the job, charge it on, do the next one, when camera +1 comes out? I may be simple, but all my colleagues who shoot all the world class shit, hire the operators, then prod manager hires the tool as requested, they don't even own a lens never-mind a camera - not one of my director chums who shoot the shit that is beyond global big even owns a single film-making device other than a phone. Like with music - an old analogue synth will not make you the Human League - just get on with the content rather than reaching for association? Was told as a kid people who do do - people who won't talk about it a lot. Who knows eh

Soho Editors nice chaps and they are a freelance post agency also - so know their stuff: http://sohoeditors.com/training/adobe/after-effects

Know not a single filmmaker (and without ratifying their roles - (doing the dream jobs - Olympics, Victoria Secrets, Superbowl Oscars blah etc) that owns a single camera, or would ever buy one (other than tax reasons lol) Yes a dichotomy of why we're noodling here, but .... why buy? Intrigued. What are the benefits? Even Tax wise can't be good can it?

On a side note - chuckling at yet more out of sync stuff @-@ I digress ;p

The 24 bit thing also saves re-encoding for broadcast delivery (here in the UK anyway) as delivery requirements stipulate 48k 24 Bit files - so with ever diminishing mix times it saves a chunk of time re-sampling a shed load of audio from 96k or 16k. Good fun isn't it jcs also when you start to push the envelope of human hearing with sample rates etc. your room and age will probably have more influence on what you hear than the actual source audio! Recording a bad microphone at 96k will give you a nice detailed bad microphone recording

Slightly off topic but fun - have a go at this: http://www.npr.org/sections/therecord/2015/06/02/411473508/how-well-can-you-hear-audio-quality

Don't record in MP3 format for any broadcastable material - MP3 quality audio present in a mix can fail QC (in TV land) - 24 bit 48k is used in 99.99% of every film (AAA titles) and TV mix I've done - music, sometimes at 96k if you're feeling extravagant!

24bit 48k please