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© Matt Price
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Hey it's Matt Price the London Sound Mixer from Soundrolling.com and this is all about my journey as a Location Sound professional in film and branded content and opening up a broader conversation about location sound from the business aspects to technical explanations.
89 Episodes
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In the last 365 days my youtube made more daily than the bottom 10.9% of the world population.
Making yourself accountable for your wins and losses is a key part in owning and controlling your destiny
Instagram @soundrolling and email matt@soundrolling.com
I dont have a routine for any of ky work unoess its features where ots 30 days of the same thing 6 days a week. So these are tips to get up and feel awake too!
This is all about the relationship of when and what I talk about with dorectora and forst ADs to keep getting what I need
This strategy also works for other social sites with search functions :) like twitter.
If you want to be successful quicker than speed is more important than almost anything else.
This is from my chat with Mark Weingarten about his work on House of Cards. They Used a slateless system and lots of metadata :)
This is an extract from a chat i did with Mark Weingarten who has worked on epics like Insterstellar and if he always mics actors just to be safe?
Jeff wexler and his dad had a big impacton our industry and especially Jeffs dad with championing safer hours and turnaround times in an industry that wants you to never sleep.
This is a question I got nearly a year ago from one of my live youtube hangouts on why I was feeding both audio and timecode for sync to a Camera
Directors often want to cue actors while a scene is going on and encouraging them to click and clap is much easier to edit.
This is abkut keeping my audio rushes orgnaised in a way that the editors can find relevant extras as needed and what mic is what, even if its just to triple check.
This is from a lengthy sound chat with Simon Hayes and covers a part about special large scale hollywood FX like Rain Machines and Wind when it comes to getting clean dialogue
This is from my experience doing Carnet for doing part of a feature film in Morocco and Spain last year
This is an extract about an intangible art of developing a style with your post production projects when they are so different. Like Wayne with movies like The Great Gatsby and Mad Max
This is from a few years ago with Wayne Pashley and he gives me a glimpse into the raw performance of dialogue to change and bring characters to life
This is from my sound chat with Wayne Pashley a few years ago now about his post work on the Great Gatsby with Leoardo De Caprio
Here is a little trick you can do if you need to triple check the audio level on a camera where the meters arent accurate
This showcases the various ways i treat back ups for projects and when i decide to delete them
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