Anybody for Looping?
Greetings Fellow Posters...this is my first post.
I sorta feel at home here, and want to add some insight to this audio dilema. I worked in the first digital mastering studio in the Dallas area some 18 years ago and learned a lot about looping for near-perfect movie audio fixes. Clive hit the nail on the head about recording wild sound on EACH set or location you shoot on. Then, once in the studio, you can use it if needed as the the actors loop their lines while watching the video on a screen in the booth. It has to be one of the best ways to get really yummy sound--both from the talent and from the ambient you pick up while on-location. Gone are the days of really bad audio with unexpected location sounds like car crashes/horn honking, jets/helicopters overhead, construction noise, and idiots who like to yell and create a ruckus just for kicks. I don't guess anyone on this forum has had the luck of hiring an audio recordist that LOST THE REEL after the shoot?? Naaaa, didn't think so. <g>
Next to that, a good AT shotgun mic on a boom is worth its weight in diamonds...with a trusty Mackie 1202 by your audio person's side to tweek the incoming. I got hooked on Mackies many moons ago when an audio guy showed me how rugged and reliable they were. I watched his fall from 4 stories up off a scaffolding he was perched on while getting audio from a set. That thing still works to this day, and didn't suffer much other than a few dents. It was amazing!
I have to say that I've learned a LOT from all of you, and really enjoy going to your sites. (Hi Clive! Hi Katie!) Keep up the great chatter and thanks a million for all the great tips and ideas! Catchya laters on da flyby ~SteVon