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Thank you all for your responses. I am sorry it took me so long to reply but my other tech business has been crazy busy and I am just now getting back to this.

Hello All, I have been doing professional sound work for many years. I started doing post sound with a local group of filmmakers about 4 years ago as a hobby. Over those years I have done a lot of work but never charged for my services. I have become proficient at dialog editing, noise...

Hello Alcove, Please elaborate. I probably will never afford it but is doesn't hurt to dream. Thanks.

I agree with Alcove on those that I have read from his list: The Location Sound Bible - Ric Viers The Sound Effects Bible - Ric Viers Dialog Editing - John Purcell The Practical Art of Motion Picture Sound - David Yedall Sound Design - David Sonnenschien I have personally gotten a great deal...

I love my Sony MDR-7506. I just finished an ambiances shoot in Chicago where I recorded many hours on end all around the city. The isolation was very good and they were comfortable to wear for long periods. The sound quality was very good and I could hear many fine details. Not bad for under $100

I have a RODE blimp that I have used with an NTG-3 and many other mics. It has several diferant size MIC clips. It is great and a good price. I also love their boom pole. http://www.zzounds.com/productreview--RODBLIMP

IMHO use whatever mic sounds best for the sound you are capturing. It is very important to try to cut down room reverb so you have more options in post. If you cannot use a studio room, I recommend sound blankets on at least two walls at a right angle to each other. I do not like over treating a...

This is an excellent post. I have always known the quality difference between balanced and unbalanced but have never really understood why. As always I appreciate the time you and Alcove take to educate us. Thanks AudioPostExpert Best Regards, NoiseNinja Kurt A. Kroh

The levels from the NTG-1 were very good and I got very useable results. Don't get me wrong, the only reason I want an NTG-3 is because I am a sound professional that intends to sell my services. You can get very good results from the NTG-1 if you use good technique. If you intend to shoot...

I own a RODE NTG1 and have used it with the H4N with good results. Be careful with the NTG2, as I understand it the NTG2 it has lower levels so you may get more noise. If I had it to do over again I would have waited and saved for the NTG3 because it sounds much better than the 1&2. Best...

Hello Artificial, I highly recommend the Location Sound Bible from Ric Viers. I have taken two location sound seminars from Ric and have read his other book, The Sound Effects Bible. I can say that he is a great teacher and an authority on both location sound and sound effects...

Hello anzel2002, I am a bit taken back at your attack of Alcove. He has over 4,000 posts of good, useful information. Alcove is constantly one of the first people to jump in and try to give some help. OK, maybe the article he is referencing in inaccurate, maybe you have some inside information...

I agree, Wilds are the absolutely a must. Also make sure to get some good clean close location recordings of the creaking floor in case you do want to add it in later. It is also good library footage. Kurt A. Kroh www.Noise-Ninja.com

Great post!!! Thank You.

I use an extra video output from my computer and run a 20' DVI cable to a monitor in the next room. I just clone the display that has the my preview on it. this way we can see the preview in the control room and the performer can see it as well. This eliminates fan noise getting into the...

I recommend shooting wild dialog tracks (sound only) inside the car directly after getting the shots. Shoot several takes of each actor with them sitting in the correct position. Use a shotgun on a pistol grip or short boom. Position the mic 12" or so from your actor pointed down at the upper...

Thank you both for your thoughts. In my last production I backed it off to between -6db and -9db. I did not have any problems in post so I believe that will be my new target zone. as for the boom distance, I will have to give that some more thought and testing. I can see both sides of the issue...

I am also a big fan of wild tracks. I set up an on set sound booth by hanging some sound blankets. I have sot two shorts recently that needed no ADR because of wild recording. Best Regards, Kurt Kroh NoiseNinja

There is a new De-Reverberation plugin. I have not tried it but the demo video is cool. I use PC and it is MAC only for now. http://www.zynaptiq.com/unveil/ Kurt Kroh NoiseNinja

I completely agree. Use as many sound blankets and carpets as possible. I use huge heavy duty 6'x10' bead spreads that I picked up years ago for cheep temporary studio wall treatment. These are about 1" thick and at lease three times as heavy per square foot as moving blankets. I like them...