Here are some of the services I can provide for you:
Production Sound Mixing / Recording
I use an 8 track field recorder with timecode and track labels to record up to 8 isolated tracks.
On set I bring 7 wireless pairs and an assortment of microphones for booming. I bring two 8' stands for
the booms when the shot is stationary like a talking head or characters sitting.
Timecode Generation and Distribution
I bring several timecode boxes and a Denecke slate to set. Timecode can also be transmitted to the cameras directly
from the recorder.
Music Video Timedcoded Playback / Distribution
When shooting a music video it is very important to make sure what you shot is in sync with the music. The eaiest
way is to playback timecoded music files on set. The timecode is transmitted to the cameras in real time
insuring that when you get the footage to post, it is only a few mouse clicks to setup all the clips on a
timeline perfectly. Then all you do is edit.
Sound being recorded can be sent out wirelessly to belt packs with headphones.
I can also be hired to work the DIT desk. Smart ingenstion and syncing of media throughout the day makes life
for the editor so much faster.
Conference / Table Read mixing for virtual meetings.
When you need to let a lot of people's voice be heard clearly you need good audio. I place as many mics in
the room as needed for coverage and mix them correctly.
Post Production Services:
Face it, there were noises on set. You found a great looking location that your sound man cursed you for. That
is where dialogue editing comes in. Your dialogue tracks need consistant sound throughout. This is achieved
by using a large number of tricks including but not limited to: alternate takes, leveling, eq matching, de-reverb,
de-noise, painting out unwanted sounds, filling in missing room tone, etc.
Whether information or entertainment, your Podcast has to be edited tightly to sound as professional as possible.
Production Sound Repair
Too much rustle from your lav mic? Everything recorded too low? Airplanes fly over all the time?, Strange hum
in all your takes? Air conditioners / refrigerators going on and off? Director won't shut up during a take?
This is where Production Sound Repair comes in very handy. A few hours of repair can prevent expensive ADR.
This is the synthesis of new sounds to go along with elements in the film. Sometimes, there just isn't a way to
record the sound you want and it needs to be made.
Is there no way to make the production dialogue work? ADR to the rescue. Simply put it is re-recording
lines of dialogue in a studio and syncing them up. By re-creating the acoustic characteristics
of the room / microphone on set I can get the ADR studio recordings to sit perfectly into the dialogue track.
Recording of new sound effects to match the picture. Typical Foley effects are footsteps, punches, human sounds,
Re-Recording / Final Mixing
This is where all the previous elements are brought together into one final soundtrack and rendered out
There are exacting standards that need to be adhered to when it comes to providing a film to a distributer,
festival, or QC house. I can create prinmasters that comply with whatever standards the receiver requests.
Is your sound track going to pass QC when it gets to the distributer / broadcaster / streamer / festival?
Find out before being embarrassed by a sound failure report.
Professional projectors like their movies one way, as DCP. A Digital Cinema Package is the file format
required by theaters. It provides all the metadata, media, and security a Christie or Sony theater 4K
projector needs to show the movie.