This was a satellite truck feed with SDI audio embed from the camera, IFB and intercom, all in a fifteen minute setup. The palatial mansion foyer is an all white marble entry with a round, domed sky lit atrium immediately adjacent, yielding a significant reverb time in combination with Foreman’s booming voice.
Citizen Doug Productions is thrilled to be supporting this ongoing campaign with location sound. From the minds of Chris and Jeff War of Moffett Productions, this campaign is recorded directly to a Red Epic. Director of Photography is Richard Lacey gripped by Mitchell Loper Most of the locations were open dealerships.
A new member of the time code family at Citizen Doug Productions is front and center, the ACL 204 Ambient Recording Lockit. This ACN Lockit Network enabled time code generator, in combination with our Sound Devices recorders and Pro Tools, gets you drift free recordings of up to thirty-two channels when you bring Citizen Doug into your ACN enabled shoot. The Pro Tools files are stamped with correct Midi Time Code (MTC). Yes, the other pieces in the picture are not ACN enabled, but hey, we gotta start somewhere.
The PIX 260i from Sound Devices records SDI and HDMI video sources. It also supports 32 tracks of audio recording via the Audinate DANTE network protocol. Our Behringer X32 mixer package has a DANTE card. This means we offer no drift multi-track location recording with video, audio and SMPTE time code.
Some applications include: Concert recording (audio only, single or multi camera), feature film sound, webcast/broadcast archival recording, high channel count reality shows, virtual reality surround recording, and backup recording for ProTools live projects. This recorder can record to multiple hot-swapable drives for backup and instant distribution to clients or postproduction.
Use the YouTube app on your mobile device. Douglas Robertson provided location audio services as recordist for Bellator and Spike’s first venture into virtual reality. Sound was recorded at the Toyota Center on February 19, 2016. You’ll see a lot of Houston sound pros in the video supporting the traditional coverage, but not me. This project was recorded while a live ‘linear’ traditional broadcast and fight event was in progress. Five dressing rooms and one mobile camera were covered with support for 360 GoPro arrays. Tracking was recorded to Avid Pro Tools and Sound Devices 633 via Behringer X32 and Audinate DANTE, and with time code support. Thanks to GoToTeam for the hire!
As part of Citizen Doug’s Behringer X-32 package, we now have an SD16 in addition to an S16, combined with 32 channels of 2-way transformer isolated split and up to 300 ft of Cat-5 AES50 snake. Combined with the DANTE card, DANTE Via and ProTools, we can now capture each channel with backup recording of a concert, event, conference, reality cast, political rally, webcast, whatever, without harming the house mixer, or we can provide a mix.
The SD16 has already made several appearances just because it’s so much easier to run a single network cable then make home runs from video land to the mixer.
And with the iPad mixer control app, most trouble shooting, setup, room tuning and routing jobs are completed without all the running back and forth. This is a well though out and well implemented system.
My mom called me the other day and asked me what I was working on. I told her lately a lot of wedcasts. They have become a growth segment of my business. She asked, “What does that mean?” The very next day I was working for a new client, APM, a wholly owned subsidiary of an old client, GE. Both of these are served through Flying Colors and Sirius Video. The general public doesn’t usually get to see these because they are either highly proprietary or have registration requirements for viewing.
A typical webcast audio setup fits on one cart
Called townhalls, all hands meetings, quarterly reports, product launches, press conferences, they may not be very stimulating viewing for a general audience, but these multi billion or million dollar corporations take them very seriously because they know that their investors are watching closely as well as the business press. They can be single camera (this event), multi camera (switched or posted), or audio only events.
From an audio point of view, short of television event broadcasting, they represent the greatest combination of the various crafts that I provide. Skills include, broadcasting, public-address (PA) systems, high wireless channel counts, two way video and telephony feedsand press pool feeds, intercom, remote feeds, IFB, single and multi camera synchronization and audio support. APM was wonderfully prepared, hospitable, and pleasant to work with. Still these type assignments may have all the challenge and chaos that executive relations, last minute changes, large audiences, and short setup times can often bring. If you want to know the value of the words you are passing along, just wait for that CEO you just put a microphone on to state the annual profit number and the CFO next after him say the annual earnings. Then look at the stock price of the company before and after the show. This is why people call Citizen Doug.
Some of the clients I have done this kind of audio for:
Microsoft, NFL Films, The Houston Texans, GE, Fidelity Investments, HP, Sysco Foods, Wayne Fueling Systems, APM, Neighbors Emergency Care, Points of Light Foundation, Houston First , Expo Expo, IATSE Local 51
Spent the day in Prairie View, TX with ABC News mixing ENG audio (electronic news gathering) including a press conference with the mayor, a scrum with the arrested councilman, and a stand-up with correspondent Brian Owens. Uplinks with the LiveU backpack and ftp’s were used for transmission of material back to the mothership. Thanks to Go To Team for the hire.
Tape syncs, also known as double-enders, have almost left the world of public radio in favor of apps that record on cell phones. WNYC, however, seems to understand the power of podcasts and that in long form audio interviews, good audio, like a good seat on a long ride, is important.
Highlighting the benefits of working for the Gillman family, this video celebrates 75 years of operation and growth. Produced by Moffett Productions, Jeff and Chris Wohrer and even Joe Krath make background appearances.
This web video was shot in 4K on a Red Epic. Audio for the shoot was recorded in and open dealership with actual employees of Gillman Automotive Group. Recorded double system, the primary mics were a hypercardioid condenser and Sonotrim lavs paired with Lectrosonics Digital Hybrid Wireless. A Sound Devices 633 was the audio recorder.
One of the cooler things I got to do in 2013 was record a days worth of interviews at The Cycle Shack North where Lyle Lovett had his first job. Lyle sat for on camera interviews for Penton – The John Penton Story, a film he would later narrate. There were also many interviews for the movie at the shop. The film is still in limited independent theatrical presentation.
Recording double system for DSLR was provided with a Sound Devices 552, Sennheiser 416, and Lectrosonics wireless.