Music Copyright 1
if I'm making a film can I used copyrighted music if I'm only going tos end it into film-festivals?
Crystal Sync Nagras
Are all Nagra 4.2's crystal? My assumption is that they are, but it seems prices vary so much (I know that's related to condition and such). Can you tell me anything about the differences between Nagra 4.2, 4, and 4L?
I'm making a film that requires the recording of a live phone
coversation. Obviously, one end of the phone will not be hard to record.
But getting the other voice on there and make it sound like authentic phone
conversation is proving difficult. i have thought about just recording both
people live and then cut back and forth throughout the conversation via
editing, but it goes back and forth enough to make somebody dizzy. Any
suggestions for a low, low budget amatuer?
Selecting a Boom Microphone
i have a question i hope you can answer. i am producing a small feature on
an xl1 (with an xlr adaptor), what is a good boom mic to purchase and do YOU
sell them? to rent or buy? and about how much am i looking at in terms of
cost? i want a good mic with good sound. i was told that the sennheiser
416 is good. what about boom poles and zepplins? please get back to me
Is there a difference between a boom mic and a shotgun mic?
The Cost of an Orchestra Score
I've been dreaming of having my original film score performed by an orchestra, am I out of my mind by thinking I can afford it or are there other alternatives?
Is it true that digital video(Canon XL-1 Mini DV) runs at a
different speed than DAT recordings, making the task of synching up the sound to the video very difficult? And if so, any suggestions on doing this?
The most important thing to remember is that the "speed" (sample or frame rate) of your audio recording device is unimportant as long as it is constant (crystal or electronically controlled). If you're recording a shot that is 5 seconds long in real time, it will be five seconds long on video and five seconds long on your DAT, so you can sync it.
Where you run into problems is if you change the relationships between pix and sound when digitizing, compressing, transferring or editing.
Berry started his career as an editor and post production supervisor, having worked on documentaries for PBS and The Discovery Channel.
Berry’s award-winning short fiction, documentary and experimental films have screened at festivals around the world. His first feature film secured a rare worldwide distribution deal and received a limited theatrical release.
The publisher of Film Underground and founder of Northwest Film School, Berry has taught production at Western Washington University and Whatcom Community College. Berry was awarded a Master of Arts in Production and Direction from the National University of Ireland and holds a Bachelor of Arts in Media and Theatre Arts from Montana State University.
Berry’s academic work has been published in scholarly journals as well as trade publications such as MovieMaker Magazine, CyberFilmSchool.com and FilmFestivals.com as well as The Complete Idiot’s Guide to Filmmaking. He is the publisher of Film Underground and has served as an expert source for international newspaper and radio media outlets. Berry twice served as the Director of the Northwest Projections Film Festival and as a panel judge on numerous festivals and competitions.
Glen Berry is the Director of the Northwest Film School where he teaches directing, producing and editing. He has specialized in creative editing and post production techniques with independent film. His interests include the cognitive functions of the mind as it applies to motion picture editing as well as new forms of communications in the visual arts.
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