query: who is responsible for slating boom operator key grip production sound mixer director

pos: Boom operator (media) Boom operator (media) A boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame. The first noted use of a boom mic was on the set of "Beggars of Life" (1928) when director William A. Wellman wanted a tracking shot of two actors walking

pos: Production sound mixer separate copy is often made, as it both provides an extra copy which may have more tracks and also may include other sound captured without the camera. The sound mixer is considered a department head, and is thus completely responsible for all aspects of production sound including the hiring of a boom operator and utility sound technician, planning the technical setup involving sound including both sound equipment and ancillary devices involved in syncing and time offsets, anticipating and discussing sound-related problems with the rest of the crew, and ordering and preparing the sound equipment to be used on the set.

pos: Utility sound technician Utility sound technician A utility sound technician, also referred to as sound assistant, sound maintenance or cableperson is an assistant to both the production sound mixer and the boom operator on a film or television set. Although sometimes the utility pulls cable, he or she is more than just a cableperson. The utility is a jack of all trades, assisting in setting up, operating and maintaining the running order of equipment, often acting as a second boom operator, or even second mixer, and also repairing and servicing equipment such as cables and hardware as necessary. As both mixer and boom

pos: Boom operator (media) Boom operator (media) A boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom pole to enter the camera's frame. The first noted use of a boom mic was on the set of "Beggars of Life" (1928) when director William A. Wellman wanted a tracking shot of two actors walking

pos: Utility sound technician than their experience from simply working in the sound department. A utility sound technician typical makes between $20-$60 an hour with overtime after 8 hours and double time after 12 hours. This varies depending on their exact role and production budget. Usually the production sound mixer will hire boom operator(s) and utility technicians that they know and trust, although one may be provided by the production in some cases. Utility sound technician A utility sound technician, also referred to as sound assistant, sound maintenance or cableperson is an assistant to both the production sound mixer and the boom operator on

pos: Grey's Anatomy (season 2) after the production of the season finale, being temporarily replaced by Nicole Dome and T. Scott Elliott, who joined the team for two episodes. Sound editor Anthony Toretto, additional foley artist Mark McBryde, foley mixer Stacey Michaels, production sound mixer Brydon Baker III, foley artist Noel Vought, boom operator Kevin Maloney and sound re-recording mixers Todd Langer, Don Digirolamo, Pete Elia and Kurt Kassulke, the original members of the sound department, all returned for the second season. Production sound mixer Veda Campbell also returned, but departed after four episodes into the season, whereas assistant sound mixer Douglas J. Schulman was

pos: The Singing Forest / electric. Sal Roman (Stephen), too, is credited as grip. Dustin Lance Black is credited as "L. Black" for his editing and as "Lance Black" for his acting role (Bill). He is mentioned for the third time within the "special thanks" section of the credits. Renea Plant (television host) was art director and Gregory Saites (Nazi guard #4) was stunt coordinator to the film. Keith Holland was first assistant cinematographer and Sam Tyler Wayman is credited as first assistant director. Smitty Smith was boom operator / swing for the film. Andy Sowerwine was sound mixer. Still photography was done by

pos: Boom operator (media) Rudy Ray Moore's film "Dolemite". The TV Tropes wiki has a list on its "Visible Boom Mic" trope page demonstrating more examples. Pastiches of bad film-making may also use boom mic visibility to spoof their material. Boom operator (media) A boom operator is an assistant of the production sound mixer. The principal responsibility of the boom operator is microphone placement, usually using a boom pole (or "fishpole") with a microphone attached to the end (called a boom mic), their aim being to hold the microphone as close to the actors or action as possible without allowing the microphone or boom

pos: Boom operator (media) a socket at the base into which the operator plugs the microphone cable. The ideal boom pole is lightweight and strong, supporting the weight of the microphone on the end while adding as little weight as possible. Frequently, a wind-attenuating cover, called a "blimp" or "mic-blimp", is used to enclose the microphone. A blimp covered with sound-absorbing fuzzy fabric is usually nicknamed a windmuff or a "dead cat". In film crew jargon, the gruesome-sounding phrase "dead cat on a stick" is simply a boom microphone fitted with a fuzzy wind-screen. The boom operator and production sound mixer may often be

pos: Perchman on the artistic side of sound recording. Perchman The French perchman is equivalent to the U.S. boom operator in film production, also called the sound assistant or boomer, but differs regarding attributions. The perchman is the production sound mixer's assistant and is in charge of the microphone placement, typically using a light and telescopic pole also called a fish pole or boom. Thus, the perchman places and moves the microphone "in real time" in order to pick up the voices of each actor during filming. Being a perchman involves providing the best sound quality possible to the sound mixer while

pos: Perchman Perchman The French perchman is equivalent to the U.S. boom operator in film production, also called the sound assistant or boomer, but differs regarding attributions. The perchman is the production sound mixer's assistant and is in charge of the microphone placement, typically using a light and telescopic pole also called a fish pole or boom. Thus, the perchman places and moves the microphone "in real time" in order to pick up the voices of each actor during filming. Being a perchman involves providing the best sound quality possible to the sound mixer while at the same time, not causing shadows

pos:
The Games Affair Simes
 "Script": Michael Anthony Noonan
 "Film Editor": Michael Horton
 "Sound Editor": Norman Elder
 "Sound Mixer": Don Reynolds
 "Assistant Film Editor": Dermont McNeillage
 "Associate Producers": John Barnett, Michael Hirschfield
 "Assistant Director": Rosslyn Noonan
 "Production Assistant": Jackie Sullivan
 "2nd Unit Camera": Alun Bollinger
 "Lighting": Paul Leach, Alun Bollinger
 "Assistant Cameraman": Kevan Hayward, Leon Narbey
 "Sound": Norman Elder
 "Boom Operator": Michael Horton
 "Set Construction": Geoff Murphy, Andy Grant
 "Special Effects": Geoff Murphy
 "Continuity": Bonny Berry The Games Affair The Games Affair (1975) was New Zealand's first children's television serial. A six-part thriller fantasy serial for children shown on NZBC. Three youngsters becomes involved

pos: Grey's Anatomy (season 2) added to the crew for the first ten episodes of the season. Joining the production team in the sound crew were boom operator Kevin Maloney, sound mixer Cameron Hamza, Robert Marts and Mick Davies, with both Marts and Davies leaving the show after two episodes. The special effects team, which was led by coordinator Jason Gustafson, consisted of make-up artists Anthony Julio, who had been part of the production crew since the beginning of the series, and special effects foreman Ken Rudell. Part of the visual effects team were computer graphic artist Richard Also, visual effects supervisor Rick Cortes and

pos: Dolly grip "blindly" negotiate sometimes complicated environments. The dolly grip silently directs the operator (through gentle touches, nudges, pulls and pushes) away from walls and other obstacles that the operator cannot see while concentrating on the image in the camera viewfinder. The same is true when the camera is operated with a Steadicam or similar body-mounted stabilization tool. Although dolly grips are hired by and under a key grip, they are paid the same as (or more than) a best boy grip, who is the second-in-command. Dolly grips may also push a wheeled platform holding the microphone and boom operator. Crane operators

pos: Boom operator (media) who had quite a temper in those days, got very angry, took the microphone himself, hung it on a boom, gave orders to record—and moved it." Another instance of a prototype boom mic was on "The Wild Party" (1929). To allow Clara Bow to move freely on the set, director Dorothy Arzner had technicians rig a microphone onto a fishing rod. A patent was filed a year later for a very similar sound-recording device by Edmund H Hansen, a sound engineer at the Fox Film Corporation. Often in television studios, the boom operator will use a "fisher boom", which is

pos: Stephen Tibbo life, Tibbo enjoyed playing golf, but when he started attending university, sound became his hobby, and eventually his career. In 1987, Tibbo started "in audio for film and television", serving as a boom operator, quickly working his way up to mixing. In 1989, Stephen Tibbo "mixed his first film and was hooked". Today, Tibbo's main recorder is a Zaxcom Deva. The sound mixer stated that for shows with a plethora of spontaneity, such as "Modern Family", using the MKH 8060 Sennheiser microphone is ideal, because it "is not only compact and lightweight, but it was designed to suppress off-axis sounds

pos: Boom operator (US military) Boom operator (US military) In the U.S. Air Force (USAF), a boom operator is an aircrew member aboard tanker aircraft who is responsible for safely and effectively transferring aviation fuel from one military aircraft to another during flight (known as "aerial refueling", "air refueling", "in-flight refueling", "air-to-air refueling", and "tanking"). The name boom operator implies that one "operates a boom" (the "flying boom"), which is a long, extendable metal arm attached to the rear underside of the "tanker" that the boom operator connects to the fuel receptacle of a receiving aircraft (the "receiver"). The boom operator also controls the refueling

pos: Boom operator (US military) flying boom in 1948. For a complete list of U.S. military tankers, see List of United States military aerial refueling aircraft." Boom operator (US military) In the U.S. Air Force (USAF), a boom operator is an aircrew member aboard tanker aircraft who is responsible for safely and effectively transferring aviation fuel from one military aircraft to another during flight (known as "aerial refueling", "air refueling", "in-flight refueling", "air-to-air refueling", and "tanking"). The name boom operator implies that one "operates a boom" (the "flying boom"), which is a long, extendable metal arm attached to the rear underside of the "tanker" that

pos:
Falcons (film) Karin Laudenbach, and Sveinbjörn I. Baldvinsson.
 1st AD Hálfdán Theódórsson.
 Hair and Make up Ásta Hafﬂórsdóttir.
 Gaffer Örn Marinó Arnarson.
 2nd AC Wencke Hovet.
 Grip: Jónas Gudmundsson, and Valdimar Jóhannsson.
 Best Boy Ingvar Stefánsson.
 2nd AD Harpa Elísa Þórsdóttir, and Dadi Hrafn Sveinbjörnsson.
 Continuity María Valsdóttir.
 Electricians Arnar Einarsson, Hinrik Jónsson, and Sigurður Steinarsson.
 Sound Recordist Steingrímur E. Gudmundsson.
 Boom Operator Gudmann Þór Bjargmundsson.
 Property Master: Thorkell Hardarson.
 Assistant Property Master: Atli Geir Grétarsson.
 Asst. Production Designer: Steingrímur Þorvaldsson.
 Assistant Costume Designer: Maria Valles.
 Still Photographer: Anna Fjóla Gísladóttir.
 Crew Iceland
 Casting Iceland: María Sigurðardóttir.
 Second Unit: Hálfdán Theódórsson, and

pos: Boom operator (media) combined into a job performed by one person, usually when the crew number is to be kept minimal, such as for documentaries or news collecting, or in low-budget productions. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound duties. The boom operator must decide where to place the microphone based on a combination of factors, including the location and projection of any dialogue, the frame position of the camera, the source of lighting (and hence shadows) and any unwanted noise sources. Often the boom operator will need to

pos: Grip (job) pipe to create a temporary overhead grid. Black Wrap – A black aluminum foil generally used as a heat insulation or to shape the direction of light. Blonde – 2,000 watt open-faced light fixtures usually made by an Italian manufacturer. Boom Operator – The person who holds the microphone boom. Boom up (Boom down) – To raise, or lower, a camera or microphone that is already mounted on a crane or dolly. Butterfly Frame – A large aluminum frame that filters light through a fabric stretched from edge to edge, often used during outdoor shoots. Buttplug - Baby to Junior

pos: Aerial refueling a V-tail configuration, are used to move the boom by creating aerodynamic forces. They are actuated hydraulically and controlled by the boom operator using a control stick. The boom operator also telescopes the boom to make the connection with the receiver's receptacle. To complete an aerial refueling, the tanker and receiver aircraft rendezvous, flying in formation. The receiver moves to a position behind the tanker, within safe limits of travel for the boom, aided by director lights or directions radioed by the boom operator. Once in position, the operator extends the boom to make contact with the receiver aircraft. Once

pos: Below-the-line (filmmaking) insurance within the entire production, and or production incentives. This painstaking task is usually assigned to the Production Manager or UPM of a production and should be completed before principal photography begins for any project. Some below-the-line film and television film crews operate in pre-production, production, or post-production stages of filmmaking. For example, the film editor may work solely in the post-production stage of filming but he/she might also work throughout the production, editing the film as it is shot and advising the director if and when additional shots or scenes are needed. The boom operator on the other hand

pos: Bill Bixby crazy little kid." Prior to Bixby's promotion to director, Brandon said, "He was looking for the best dolly grip, along with the boom operator that if something was called specifically and failed, Bill could be easily angry." On the kind of relationship Bill had wanted with his co-star, Brandon also said, "Bill would never speak down to me. Bill treated me as an equal. He made sure that we had a lot of time together, just so he could kinda crawl inside my head and see what actually made a kid tick." Upon Bill's real-life father's death in 1971, Cruz

pos: Boom operator (US military) U.S. military, the boom operator crew position only exists in USAF tankers equipped with a flying boom, such as the KC-135, KC-10, and the newly-developed KC-46. For tanker aircraft not equipped with a flying boom, such as the KC-130, HC-130, and F/A-18E/F, the specific crew member(s) responsible for operating the air refueling equipment and supervising refueling operations varies by aircraft. Boom-equipped tankers have been obtained by several foreign countries as a result of USAF tanker procurement programs and U.S. foreign military sales. An estimated 63 boom-equipped tankers (KC-135, KC-10, A330 MRTT, KC-767, and KC-33) are operated by 14 foreign countries;

pos: Customer Loyalty (The Office) stated that this episode would begin to reveal who was behind the documentary. Originally, the idea to have a sound man named Brian comfort Pam when she was crying was proposed by former series actress and writer Mindy Kaling. According to an interview with B. J. Novak, she had proposed it during the show's third season. The episode guest stars Chris Diamantopoulos as Brian the boom operator. Brian's character is named after the series' actual boom mic operator, Brian Wittle. Wittle played the part of one of the annoyed parents at Cece's recital. Ben Silverman also appears as Issac, one

neg: Set decorator sets on time are a key skillsets of the Set Decorator. Producers rely on the accuracy of the Set Decorators budget to ensure that the overall production budget remains within its bounds. The Set Decorator attends concept production meetings, scouts, safety classes, legal clearance briefings, product placement meetings, and ongoing conferences with the Production Designer, Director, Producers, the Art Department and Accounting. The Set Decorator maintains communication with fellow Key Department Heads, including the Assistant Director, Director of Photography, Gaffer, Propmaster, Construction Coordinator, Lead Scenic Artist, Location Manager, Costume Designer, Greensman, Special Effects Coordinator, Key Grip, Sound Mixer, Visual Effects

neg: Production sound mixer Production sound mixer A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time. Usually, the recordist will arrive on location with his/her own equipment, which normally

neg: Key grip crew of grips, many with specialized skills such as dolly grips, crane operators, or special equipment operators. The key grip is sometimes credited as the "first company grip." The key grip is frequently asked to be the safety monitor of the film set. Changes in the film and television worlds have created lasting change in crew responsibilities. Any union production crews working under the "Hollywood" umbrella are required to take Occupational Safety and Health Administration-style certified courses in safety. The first AD (first assistant director) is responsible for the safe operation of the set. The key grip no longer has

neg:
Tank Commando Director and Writer ... Burt Topper
 Musical Director ... Ronald Stein
 Cinematography ... John M Nikolaus Jr.
 Film Editor ... Asa Boyd Clark
 Art Director ... Daniel Haller
 Makeup Artist ... Bob Mark
 Production Manager ... Willard Kirkham
 Second Unit and Assistant Director ... Richard M Rubin
 Sound Mixer ... Al Overton
 Sound Effects ... Josef von Stroheim -
 Electrician ... Lee Cannon
 Head Grip ... Charles Hannawalt
 Cameraman ... Kay Norton
 Wardrobe ... Gene Martin
 Supervising Film Editor ... Ronald Sinclair
 Assistant Editor ...

neg: Filmmaking the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure: The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed", or just "speed", when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once

neg: Antoine Bonfanti of filming or release). Antoine Bonfanti Antoine Bonfanti is a French sound-engineer, chief-operator and sound-mixer, professor at cinema schools (regularly at INSAS in Brussels, at EICTV in Cuba and occasionally at Fémis and at ENSLL), and cinema-institutes in France and in foreign countries. Born 26 October 1923 in Ajaccio (Corsica), died 4 March 2006 in Montpellier (Hérault-France). He began learning his profession as a trainee boom-operator on the film "La Belle et la Bête" by Jean Cocteau. He is considered as being one of the pioneers of direct-sound in film-making on location: “the school of direct-sound is French - said

neg: Antoine Bonfanti Antoine Bonfanti Antoine Bonfanti is a French sound-engineer, chief-operator and sound-mixer, professor at cinema schools (regularly at INSAS in Brussels, at EICTV in Cuba and occasionally at Fémis and at ENSLL), and cinema-institutes in France and in foreign countries. Born 26 October 1923 in Ajaccio (Corsica), died 4 March 2006 in Montpellier (Hérault-France). He began learning his profession as a trainee boom-operator on the film "La Belle et la Bête" by Jean Cocteau. He is considered as being one of the pioneers of direct-sound in film-making on location: “the school of direct-sound is French - said the sound-engineer Jean-Pierre Ruh-

neg: Key grip that distinction in newer Hollywood policy. In Great Britain the "grips" are part of the camera department exclusively and are not generally responsible for regular grip duties as they are in the United States. In Australia and New Zealand the key grip generally owns the grip equipment, often consisting of dollies, track, cranes, camera cars, and insert trailers. Key grip In US and Canadian filmmaking, the key grip supervises all grip (lighting and rigging) crews and reports to the director of photography. Before filming begins, the key grip attends location scouts and meets the director of photography to determine what

neg: Gaffer (filmmaking) the term. The gaffer is responsible for managing lighting, including associated resources such as labour, lighting instruments and electrical equipment under the direction of the Director of Photography (the DP or DOP) or, in television, the Lighting Director (LD). The DP/LD is responsible for the overall lighting design, but delegates the implementation of the design to the gaffer and the key grip. The key grip is the head grip, in charge of the labour and non-electrical equipment used to support and modify the lighting. Grip equipment includes stands, flags and gobos. The gaffer will usually have an assistant called a

neg: Tim Cooney (sound engineer) business. In 1976, Cooney started working as a boom man on the motion picture Roar considered to be the most dangerous film ever made then at Universal Studios. His first studio picture as production mixer was "Blue Thunder" for Columbia Pictures in 1981. Cooney was the first production mixer in history to have sound on his own web page. He had several animated items on his page as well, which had not been done at the time. The page has been taken down since his retirement. Cooney sat twice on the board of directors of the Cinema Audio Society is

neg: Stephen Tibbo without coloration, making it ideal for boom camera mounting." Half of the year, Stephen Tibbo does post-production sound work, out of the studio at his residence. Stephen Tibbo Stephen Tibbo is a sound mixer, who has worked in "American Pie 2", "Kiss Kiss Bang Bang", in addition to television shows including "Modern Family", "Ghost Whisperer", and "Life". In addition, Tibbo did webisodes for the show "Childrens Hospital", which won an Emmy". Since the early 90's, Stephen Tibbo has "worked in both production and post production" and in "2007 Stephen built his own stage to do ADR and to mix film

neg: Luke Cage (season 1) the streets. There's so much character to the neighborhood… I think it was important to feel that these characters were rooted in the real place". The series' production sound mixer Joshua Anderson, who worked on "Daredevil" and "Jessica Jones" as well, worked to capture as much sound on set with boom mics over lavaliers to ground the unbelievable elements of the series in "naturalistic sound". He noted that Ali's Cottonmouth laugh and many of Colter's lines in particular sounded "incredible on the boom". Anderson also talked about "Luke Cage" adding a new layer of sound that the other series did

neg: Ron Judkins Austin Film Festival in 2013. He also directed the 2013 documentary "24 Peaces" which includes interviews with Desmond Tutu, Marianne Williamson, and Deepak Chopra. Judkins has worked on more than 50 films as a production sound mixer. He has won two Academy Awards for Best Sound and has been nominated for another three: Ron Judkins Ron Judkins (born 1953) is an American production sound mixer and writer-director. He has won two Academy Awards for Best Sound and has been nominated for another three in the same category. He is also the winner of the BAFTA Award for Best Sound for

neg: Don Pyle and mixer, his credits include releases by The Sadies, Legato Vipers, Soupcans, The Key Frames, Iggy Pop, Peaches, Tied to the Branches, John Doe, Andre Williams, The Good Family and others. He composed and produced music for films by Ron Mann, Sarah Polley, Wrik Mead, Derek von Essen and John Greyson as well as composing and/or producing music for The Inside Out Film and Video Festival, Mike Roberts, TV Ontario, "Dragon's Den", This Week on Movies and others. He created sound design and mixed the feature documentary "She Said Boom: The Story of Fifth Column" by director Kevin Hegge. His

neg: MOS (filmmaking) relay that to the director and crew on the stage. The expression is still used, but now simply means, "Sound is recording". It was the recordist who actually started and stopped the camera motor (the camera operator had a switch to ensure that the camera didn't roll at an inopportune time such as loading, replacing lenses, etc., and to stop it if something went amiss). The actual power source for the camera motor was in the sound booth. When a shot was planned that did not require sound, the sound mixer would ask the recordist to "roll the motor only".

neg: Director of audiography director, part of this role was delegated to the post-production supervisor, supervising sound editor, sound designer or production sound mixer - each role allegedly having less influence, responsibility and scope than the former SD. Where no DA is hired - as is the case when making films in the West - there has been some debate on the most appropriate role to head the sound department; a supervising sound editor is seen as a technical manager - comparable to an art director - whereas a sound designer is viewed as a creative visionary, analogous to a production designer. In practice,

neg: Yogi (2014 film) got ready, and he was instantly selected by the director for his crisp performance. Most of the cast were debutantes. Principal photography began in early June 2014 & ended in late June 2014. A total of 4 weekends were spend for the filming. Kevin William handled the cinematography works, with Dinesh Raj assisting as the assistant camera operator. Stanley Vincent handled the lights with Karthik & Dinesh being his gaffers on set. Production sound recording was handled by Thishanthneswaran. The whole film's sound was done using location boom recording, no ADR/dubbing was involved. Post-Production began in early September and ended

neg: Sound report rate, bit depth, and timecode information. More detailed reports may include the location, production company, director, the model of the mixer, recorder and microphones used on the day, the names of the sound crew, and columns indicating which tracks were used for any given take. The sound mixer will fill out the report during or after each take, noting down if there were any wild lines, any extraneous or unwanted sounds, and any other information useful in determining the take's sound quality. The sound mixer may in some way mark takes that were good, or of high quality, to provide

neg: Dolly grip the lens is critical to capturing a sharp image, so a dolly grip must hit his or her marks in concert with a camera assistant who pulls focus. It is a skill that experience can hone to a point, but the best dolly grips are known for their "touch," and that makes them highly sought-after. A dolly grip is also employed when the camera is operated in handheld mode (on the operator's shoulders or literally in their hands). While the camera operator is moving with the camera, the dolly grip is responsible for the operator's safety, helping the operator to

neg: Vision mixer Vision mixer A vision mixer (also called video switcher, video mixer or production switcher) is a device used to select between several different video sources and, in some cases, compositing video sources together to create special effects. This is similar to what a mixing console does for audio. Typically a vision mixer would be found in a video production environment such as a television studio, production truck, OB Van or linear video editing bay of a post-production facility. In most of the world, both the equipment and its operator are called a "vision mixer" or "video mixer"; however, in the

neg: Electronic field production regardless of whether you are outdoors or indoors. Compared to ENG, in which you simply respond to a situation, EFP needs careful planning." Typical applications of electronic field production include awards shows, concerts, major interviews for newsmagazine shows like Inside Edition, Extra (TV program) and Dateline NBC, large conventions such as the Democratic National Convention, Republican National Convention or San Diego Comic-Con International, celebrity red-carpet events and sporting events. EFP ranges from a camera operator or crew of two (camera operator with sound mixer) capturing high-quality imagery, to a multiple-camera setup utilizing videography, photography, advanced graphics and sound. Sports television

neg: Re-recording mixer stage is used for feature films intended for release to movie theaters in order to help the mixer envision how the final mix will be heard in such large spaces. During production or earlier parts of post-production, sound editors, sound designers, sound engineers, production sound mixers and/or music editors assemble the tracks that become raw materials for the re-recording mixer to work with. Those tracks in turn originate with sounds created by professional musicians, singers, actors, or foley artists. The first part of the traditional re-recording process is called the "premix." In the dialog premix the re-recording mixer does preliminary

neg: Peter Kurland Peter Kurland Peter Franklin Kurland (born 1958) is an American production sound mixer. Kurland has done boom operation work along with sound mixing on many films, such as "Walk the Line", "The Ladykillers", "Intolerable Cruelty", "Men in Black", "Wild Wild West", and "O Brother, Where Art Thou?". He won two Grammy's for "O Brother, Where Art Thou?", a BAFTA award and a CAS award for "Walk the Line", and was nominated for the Academy Award for Best Sound Mixing for "Walk the Line". In 2008, he won the CAS award for "No Country for Old Men", which was nominated for

neg: Re-recording mixer etc.) sound systems. Re-recording mixer A re-recording mixer in North America, also known as a dubbing mixer in Europe, is a post-production audio engineer who mixes recorded dialogue, sound effects and music to create the final version of a soundtrack for a feature film, television program, or television advertisement. The final mix must achieve a desired sonic balance between its various elements, and must match the director's or sound designer's original vision for the project. For material intended for broadcast, the final mix must also comply with all applicable laws governing sound mixing (e.g., the CALM Act in the United

neg: Dolly grip may be a long distance from the operator. Dolly grip In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move. A dolly grip must work closely with the camera crew to perfect

neg: Light board operator the production. Light board operator The light board operator (commonly referred to as the "Light Op" or "Board Op") or moving light programmer, is the electrician who operates and/or programs the light board. Depending on the scale and type of production, the board op may be responsible for conventional or automated lighting fixtures, as well as practicals and, in some instances, controlling video as well. Sometimes, most commonly in small productions, the Light board Operator will also be the stage manager. Another variation in smaller productions has the responsibilities of Light board Operator and Sound operator combined into one position.

neg: Perchman or entering the camera frame. To accomplish this, the perchman works in collaboration with the camera operator and the cinematographer (who directs the camera movements and lights the scenes) and the gaffer. Other duties include the hiding of miniature wireless microphones (radio mics) on the actors, the placement of hidden auxiliary microphones, and the controlling of sound reflections by the use of furniture blankets and carpet. He readies the equipment at the beginning of each day and stores the gear when the day is "wrapped", or finished. The perchman manages the technical contingencies allowing the production sound mixer to concentrate

neg: Re-recording mixer Re-recording mixer A re-recording mixer in North America, also known as a dubbing mixer in Europe, is a post-production audio engineer who mixes recorded dialogue, sound effects and music to create the final version of a soundtrack for a feature film, television program, or television advertisement. The final mix must achieve a desired sonic balance between its various elements, and must match the director's or sound designer's original vision for the project. For material intended for broadcast, the final mix must also comply with all applicable laws governing sound mixing (e.g., the CALM Act in the United States and the

neg: Carl Haber Production Genre: Documentary Writer, director: Carl Haber Independent Production Genre: Thriller Writer (story): Carl Haber Writer (screenplay): Carl Haber, Lauren McLaughlin Director: Steve DiMarco Starring: Naomi Campbell, Eric Thal Lions Gate Films Genre: Comedy Starring: Stephania Rocca, Stephen Gevedon, Antonino Juorio Writer, director, producer: Carl Haber Screened at Naples Film Festival/Vieste Film Festival (1997) Lucky Red, Rossellini & Associati Genre: Documentary Writer, director: Carl Haber RAI, “Mixer” series Genre: Documentary Writer, director: Carl Haber RAI, “Mixer” series Genre: History Editor: Carl Haber “Enemy Mine” series (aired by RAI, Channel 4 and other key European broadcasters) Rossellini & Associates Genre: Documentary

neg: Grip (job) create lighting set-ups necessary for a shot under the direction of the director of photography. In the UK, Australia and most parts of Europe, grips are not involved in lighting. In the "British System", adopted throughout Europe and the British Commonwealth (excluding Canada), a grip is solely responsible for camera mounting and support. The term "grip" is from the early era of the circus. From there it was used in vaudeville and then in today's film sound stages and sets. Some have suggested the name comes from the 1930s–40s slang term for a tool bag or "grip" that these technicians

neg: Camera operator Camera operator A camera operator, sometimes informally called a cameraman, is a professional operator of a film or video camera. In filmmaking, the person designing the lighting is the cinematographer or director of photography, who is also informally called a "cameraman" though it is a different job. A camera operator in a video production may be known as a television camera operator, video camera operator, or videographer, depending on the context and technology involved, usually operating a professional video camera. The camera operator is responsible for physically operating the camera and maintaining composition and camera angles throughout a given scene

neg: Light board operator Light board operator The light board operator (commonly referred to as the "Light Op" or "Board Op") or moving light programmer, is the electrician who operates and/or programs the light board. Depending on the scale and type of production, the board op may be responsible for conventional or automated lighting fixtures, as well as practicals and, in some instances, controlling video as well. Sometimes, most commonly in small productions, the Light board Operator will also be the stage manager. Another variation in smaller productions has the responsibilities of Light board Operator and Sound operator combined into one position. In the

neg: Focus puller 1st ACs arrive on set before the director, director of photography (DoP) and camera operator, and ensures the camera and all required lenses are prepared for the day's shoot. During filming, the 1st AC is responsible for moving the camera to each setup as directed by the Director of Photography. On larger budget productions, the camera is usually mounted on a dolly for most of the day, which is operated by the Dolly Grip. At the end of each shooting day, 1st ACs clean the equipment and pack it up in preparation for the next day. If there is a

neg: Phil Judd (sound engineer) Phil Judd (sound engineer) Phil Judd (born 1948) is an Australian sound engineer, managing director of PhilmSound Pty. Ltd., who is credited with post-production work on many well-known (mostly Australian) movies and several television series. He is not related to the New Zealand musician Phil Judd. Judd began his audio engineering career in 1964 at the broadcast studios of 2GB in Sydney as a sound booth panel operator, then in 1967 joined Fauna Productions who were employing production crew for the television series Skippy the Bush Kangaroo, for which incidentally he provided the trademark "tch-tch" voice of "Skippy". Around 1970

neg: Ron Judkins Ron Judkins Ron Judkins (born 1953) is an American production sound mixer and writer-director. He has won two Academy Awards for Best Sound and has been nominated for another three in the same category. He is also the winner of the BAFTA Award for Best Sound for "Schindler's List" in 1996. Judkins directed his first feature film, "The Hi-Line" in 1998, and the project premiered in the Dramatic Competition at the 1999 Sundance Film Festival. Judkins is also the writer-director of the comedic drama, "Finding Neighbors", a feature film, which had its world premiere in the Narrative Competition at the

neg: Goodbye Promise concept at the time - to fund their film. Branin and Collins shot the film for about $500, and to complete post-production raised $16,203 on Kickstarter, which had launched just a few months earlier. The crew consisted of Branin, the actor or actors in the scene, and one camera operator. There was no production sound mixer, consequently 95% of the film had to undergo automated dialogue replacement (ADR) during the editing process. Increasing costs and mounting post-production setbacks caused Branin and Collins to shelve the film for months. The film was shot during the Summer of 2009, and because of

neg: Digital mixing console settings. Another pitfall in terms of live applications is improper location of the equipment. No sound operator can properly adjust a live sound system unless he can hear exactly what the majority of the audience hears, yet for issues related to space, appearance and security, one cannot always locate their sound control equipment in the middle of their auditorium. This is even more of a problem if the auditorium is a multi-use building that is often converted for other events. A digital mixer may solve this problem: a sound operator can operate the whole sound system from a laptop computer.

neg: Dolly grip Dolly grip In cinematography, the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the "boom". If both axes are used simultaneously, this type of dolly shot is known as a compound move. A dolly grip must work closely with the camera crew to perfect these complex movements (cinematic techniques) during rehearsals. Focusing

neg: Key grip Key grip In US and Canadian filmmaking, the key grip supervises all grip (lighting and rigging) crews and reports to the director of photography. Before filming begins, the key grip attends location scouts and meets the director of photography to determine what additional tools (location-specific motor vehicles, dollies, cranes, mounts, etc.) will be needed, orders and prepares required equipment, and transports equipment to the filming location. Once on set, the key grip coordinates with the electric and camera departments alongside the director of photography to control lighting and camera movement and setup. As a supervisor, the key grip directs the

neg: Peter Kurland is the son of violinist and musical arranger Sheldon Kurland. He attended Peabody Demonstration School (now University School of Nashville) in Nashville, Tennessee. He is a graduate of Antioch College, where he was once the fire chief. He is married to Shannon Dee Wood, with whom he has two children. Wood was an unsuccessful candidate for the Democratic nomination to the United States Senate in 2000, when Bill Frist won re-election. His sons, Julian and Ben, are the founders of BillFixers. Peter Kurland Peter Franklin Kurland (born 1958) is an American production sound mixer. Kurland has done boom operation work

neg: Love's Labor Lost (ER) (dialogue editor), Thomas A. Harris (adr editor), Susan Mick (music editor), Casey J. Crabtree (foley artist), and James Bailey (foley artist); as well as Outstanding Individual Achievement in Sound Mixing for a Drama Series for Russell C. Fager (production sound mixer), Michael Jiron (sound effects mixer), Allen L. Stone (dialogue mixer) and Frank Jones (music mixer). The episode also won an American Cinema Editors Award for Best Edited One-Hour Series for Television for Randy Jon Morgan and Rick Tuber. Love's Labor Lost (ER) "Love's Labor Lost" is the nineteenth episode of "ER"<nowiki>'</nowiki>s first season. It first aired on NBC in

neg: Video assist down the action. Ramps (speed changes in the shot) can be shown also. The video assist gear often includes a portable editing system (usually a laptop with a digitizing box and an editing software), so rough cuts can be made by the VA operator right on set. A portable video mixer is useful to check out key, blends or pre-visualize visual effects. A video printer is often used to print out pictures or hard copies of sets, camera angles or faces for art designers, make-up artists, and storyboard artists. Sound engineers and make-up usually requests a separate, live-only feed to

neg: DJ mixer or other battery-powered sound system. DJ mixing played a key role in the development of the African-American style of hip hop music. In hip hop music and occasionally in other genres that are influenced by hip hop (e.g., nu metal), the turntable is used as a musical instrument by DJs, who use turntables along with a DJ mixer to create unique rhythmic sounds and other sound effects. Manipulation of a record as part of the music, rather than for normal playback or mixing, is called turntablism. The basis of turntablism, and its best known technique, is "scratching", pioneered by Grand

neg: Kevin O'Connell (sound mixer) year. At the behest of his concerned mother, alarmed at his gaunt and charred appearance following a brush fire in Sylmar, Los Angeles, he obtained a job as a machine-room operator at Warner Hollywood Studios, also known as Samuel Goldwyn Studios in 1978, where he worked on films including "Grease" (1978). Becoming a recording technician, he earned his first screen credit on "The Empire Strikes Back" (1980). His first credit as a sound mixer was on "Dead Men Don't Wear Plaid" (1982). In 1993, O'Connell joined Sony Pictures as a supervising sound mixer, working on films include "Armageddon" (1998), "Spider-Man"

neg: Nikolai Prilutskiy Queen" (1957), and the modern satirical tale "The Key" (1961). Also Nikolai Prilutskiy made the sound for more than one hundred Russian cartoons. (In titles (at any articles) Nikolai Prilutskiy credits as "Sound Operator" (uncorrected translation to English "Director of audiography") Nikolai Prilutskiy Nikolai Stepanovich Prilutskiy ( (January 26, 1909, Moscow – July 25, 1990, Moscow) was a Soviet and Russian director of audiography, one of the first directors of audiography in USSR, who came create the sound for Soviet cartoon movies at the beginning of Soviet animation. Prilutskiy was one of the foremost Soviet directors of audiography and one

neg: Untitled (Hodgy Beats EP) 20, 2012. Album opener "Bullshittin'" was produced by Three 6 Mafia's Juicy J, and features a murky bassline with a calming vibe. The track is inspired by the sound of southern hip hop. "Cookie Coma" was produced by The Alchemist, and contains a jazzy beat, with lush horns and upright bass. The style of production is inspired by boom bap production, with prominent sounding drums. Hodgy ponders his own morality on the track, with self-reflective lines such as "I’m too legit for life, I should get a grip and die, Fuckin’ take a trip and fly, and never come down".

neg: Joel Moss maestro John Mauceri, Anne Parsons and the composer Michael Gore. He founded his own Managra Music company in 1997, specializing in jazz and theatre. In 2000, Moss was hired as a sound engineer and mixer by Kurt Deutsch and Sherie Rene Scott, the founders of Sh-K-Boom Records, a recording label that specializes in recording Broadway cast albums. Although most of the recording is done in New York City, he said he does production work at home. One of Moss's Grammy Awards was won for Best Musical Show Album for producing the cast recording of "In the Heights", a musical that

neg: Anand Krishnamoorthi Anand Krishnamoorthi Anand Krishnamoorthi is an Indian film sound designer, sound editor and production sound mixer. Krishnamoorthi first appeared in Mani Ratnam's film Anjali and later made appearances in several other films, notably May Madham, Sathi Leelavathi, Aasai, Thalapathi and several Tamil TV Serials till 1995. Anand obtained a Bachelor of Science in Visual Communication from the Loyola College, Chennai and a master's in Electronic Media from the Anna University, Chennai. He later obtained an M.A. in Film and Television Production from the University of Bristol in 2005. Krishnamoorthi assisted Tamil Film Director Balu Mahendra from 2001-2002. After his M.A.,

neg: David Batchelor (sound mixer) David Batchelor (sound mixer) David "Dickie" Batchelor (7 March 1941 in England – 3 May 2005 in Ipswich, Suffolk) was an English sound mixer. He worked for the BBC and Anglia Television, before going freelance. John Lloyd worked closely with him for years. In the 1980s he settled for television commercials, and worked with Rowan Atkinson on American Express adverts. His main cinema work was: He was involved in the radio adaptation of "Espedair Street", the Iain Banks novel. When asked to take over as production mixer on Alex Cox’s "Walker", on location in Nicaragua, Batchelor was only told when

neg: James G. Stewart (the "live sound" recorded at the same time as the picture). For the next several years, he participated in the making of some of Hollywood's earliest sound film classics, including "A Bill of Divorcement" (1932) and "The Lost Patrol" (1934). After working in the production phase of the filmmaking process for several years, Stewart switched to post-production. From 1933 to 1945, Stewart was Chief Re-recording Mixer at RKO, personally mixing hundreds of film soundtracks. The most celebrated aspect of Stewart's work during this period is his collaboration with director Orson Welles, also with a background in radio. He worked closely

neg: Stage monitor system providing a bespoke mix for whomever is connected to the sub-mixer. The number of inputs on the sub-mixer will determine the number of instruments and vocals that can be sub-mixed and the number of outputs determines how many musicians can be provided with a bespoke monitor mix. Pre-fader, pre-EQ Aux level sets overall volume May not have faders Cue mix for engineer Monitor mixes may be mono or stereo Built-in splitter Placement of the monitor mixer Monitorland Hardshell headphones are typically used by the sound board operator to listen to specific channels or to listen to the entire mix. While

neg: Howard Gray It Used to Be", was released in January 2012. Gray's debut production, Trevor Herion's "Love Chains", features the uncredited backing vocals of Holly Johnson, who was to record "Relax" with Frankie Goes to Hollywood in the same studio the next day. David Slade, the director of the music video 'Stop The Rock' for Gray's band Apollo 440, went on to direct , the third film in the Twilight series. Howard Gray Howard Gray (born 15 July 1962) is an English musician, sound engineer, programmer, composer, re-mixer and producer who has worked with Public Image Ltd, Orchestral Manoeuvres in the Dark,

neg: DJ mixer and sound recording. Whereas a typical nightclub mixer will have 24 inputs and a professional recording studio's huge mixer may have 48, 72 or even 96 inputs, a typical DJ mixer may have only two to four inputs. The key feature that differentiates a DJ mixer from other types of larger audio mixers is the ability to redirect ("cue") the sounds of a non- playing source to headphones, so the DJ can find the desired part of a song or track and the presence of a crossfader, which allows an easier transition between two sources (or, for hip hop music

neg: Anish John Anish John Anish John is a film sound designer, and mixer. He won the National Award for Best Sound Design (Best Audiography) for the film Labour of Love (Asha Jaoar Majhe 2014). He recently bagged the Best Sound Design award at the 63rd Filmfare Awards and also at the 8th Jagran Film Festival 2017 , for the film Trapped (2017), this being his second win in the same category after winning at the 6th Jagran Film Festival 2015, Mumbai,India. He is the Sound Designer of the Netflix series 'Sacred Games'. He was also the production sound mixer for "Newton" (2017).

neg: Anish John Anish John Anish John is a film sound designer, and mixer. He won the National Award for Best Sound Design (Best Audiography) for the film Labour of Love (Asha Jaoar Majhe 2014). He recently bagged the Best Sound Design award at the 63rd Filmfare Awards and also at the 8th Jagran Film Festival 2017 , for the film Trapped (2017), this being his second win in the same category after winning at the 6th Jagran Film Festival 2015, Mumbai,India. He is the Sound Designer of the Netflix series 'Sacred Games'. He was also the production sound mixer for "Newton" (2017).

neg: Logan String Melody variable-gain amplifier for each key and a BBD (bucket-brigade device) chorus that gives it the distinctive string synthesizer sound. Sound production begins at a high frequency square wave generator, then flows to the frequency divider, a Mostek MK50240N integrated circuit for the highest octave. These top octave frequency dividers were commonly used in electronic organs of the period. The lower octaves are divided by nine 7-stage SAJ210 dividers. The square wave passes the variable-gain amplifier built as a CV/Gate and a pulse conversion. Then the sound travels to the mixer, the chorus, a filter and the output stage. The monophonic

neg: DJ mixer turntablists, enables them to do scratching effects).. A crossfader has the same engineering design as fader, in that it is a sliding control, but unlike faders, which are usually vertical, crossfaders are usually horizontal. To understand the function of a crossfader, one can think of the crossfader in three key positions. For a DJ mixer that has two sound sources connected, such as two record turntables, when the crossfader is in the far left position, the mixer will output only turntable A's music. When the crossfader is in the far right position, the mixer will output only turntable B's music.

neg: Digital mixing console alleviate operator issues is to automate whenever possible. The advent of modern digital computer technology has now made it possible to install sound system components that will almost operate themselves. When upgrading or installing new sound systems, it is advantageous to install items that require as little hands-on, human operation as possible. A digital mixing console can offset the lack of operator experience because it can store the settings programmed by an expert mixer. For example: A knowledgeable person can adjust all of the microphone settings, monitors, etc. for a given event. After everything is properly adjusted, that set-up is

neg: Presentation director Presentation director A Presentation Director is a person who works in the broadcast television industry. They are responsible for the playout of all television programmes, commercials and other material (known as interstitials). The nature of the job has changed dramatically as technology has progressed. Until recently a presentation director worked in a single presentation suite and was responsible for the manual broadcast of a single television channel, usually using video tape and a vision mixer. With new computer automation and the rise of multi-channel satellite tv networks, a modern presentation director oversees the transmission of dozens of channels from a

neg: Ford Global Anthem Account Director, Arthur Ted Powell – Senior Partner/International Creative Director, Bob Ammon – Partner/Executive Producer Julie Atherton – President Atherton, Beth Kinder – Executive producer, George Wieser – producer. Production Crew: Edouard Nammour – Director, Donald Cager – Associate Producer, Loretta Tassotti – Associate Producer, Susan DePalma – Line Producer, Scott Kennedy – Production Assistant, Logan Luchsinger – Talent Coordinator, Lisa Fincannon – Casting Director, Suzanne Bailey – Casting Associate Simon Duggan – Director of Photography, Simon Quaife – Key Grip, Benjamin Shirley – First Camera Assistant, Brock Houghton – Production Designer, Jackie Alloca – Stylist Charlotte Church – Solo

neg: Feed mixer Feed mixer Feed mixers are used in feed mills for the mixing of feed ingredients and premixes. The mixer plays a vital role in the feed production process, with efficient mixing being the key to good feed production. If feed is not mixed properly, ingredients and nutrients will not be properly distributed when it comes time to extrude and pelletize the feed, or if the feed is to be used as mash. This means that not only would the feed not have nutritional benefit, it would be bad for the animals that are eating it. There are a number of

neg: Boom operator (media) down a street, and the sound man refused, telling the director that the actors had to be static and the microphone had to be hidden in a flowery vase. Wellman said "that's crazy" and instructed the sound man to put the microphone on a broom-handle and walk along the actors just outside of the frame. According to David O. Selznick, "I was also present on the stage when a microphone was moved for the first time by Wellman, believe it or not. Sound was relatively new and at that time the sound engineer insisted that the microphone be steady. Wellman,

neg: Feed mixer different type of mixers used in the feed industry with the most widely used being: These machines come in a variety of configurations: Feed mixer Feed mixers are used in feed mills for the mixing of feed ingredients and premixes. The mixer plays a vital role in the feed production process, with efficient mixing being the key to good feed production. If feed is not mixed properly, ingredients and nutrients will not be properly distributed when it comes time to extrude and pelletize the feed, or if the feed is to be used as mash. This means that not only

neg: Glenn Rosenstein Glenn Rosenstein Glenn Rosenstein is an American record producer, engineer, sound mixer and guitarist based in Nashville, Tenn, who engineered and produced many albums including the Grammy winning "One Bright Day" by Ziggy Marley. Rosenstein worked at New York City's Sigma Sound Studios in the 1980s. He owns and runs Skylight Studio. Rosenstein started as a guitarist but, having "quickly learned in a very competitive NYC market that [he] was average at best", moved to music production, his first job being part-time receptionist at The Power Station. As a producer, mixer and engineer, his projects have won three Grammy Awards,

neg: Sound card mixer Sound card mixer on Mac OS Software for recording without Sound card mixer on Linux Software for recording without Sound card mixer on Windows Sound card mixer A sound card mixer is the analog part of a sound card that routes and mixes sound signals. This circuit receives inputs from both external connectors and the sound card's digital-to-analog converters. It selects or mutes, amplifies (with variable gain) these signals, adds them together, and finally routes the result to both external output connectors and the sound card's analog-to-digital converters. Different mixing schemes are in use, but the ones implemented in most

neg: Grip (job) director, director of photography and key production staff after shooting has wrapped for the day. Dance Floor – Not to be confused with a traditional dance floor used for weddings or special events. A production dance floor generally refers to putting down a double layer of 3/4 inch plywood with the seams offset, topped with Masonite, to allow a camera dolly to ride smoothly in any direction. This process usually occurs when a floor or surface area is not level. Dot – A small round scrim, mesh, net or solid material used to dim or control the brightness of a

neg: Finding Neighbors nothing of this to his wife (Catherine Dent), and as he begins to change, she becomes increasingly suspicious about what’s going on in the neighborhood. "Finding Neighbors" world premiered at the 2013 Austin Film Festival, and subsequently screened within such festivals as St. Louis International Film Festival, Florida Film Festival, Newport Beach International Film Festival, Omaha Film Festival, and Boston LGBT Film Festival. Writer/Director Ron Judkins is best known as Steven Spielberg's go-to production sound mixer, having won two Academy Awards for Best Sound (Jurassic Park, Saving Private Ryan) and has been nominated for another three in the same category.

neg: Night of the Naked Dead Cape Cod 1772 historical house owned by the director, his wife, and Carol McCleary. Generally speaking, no one in the cast or crew had prior experience making a feature film. The director, Hilde Podrug, and Carol McCleary performed some crew tasks under assumed names and the name of characters from their books to create the appearance of a bigger production. John M. Kelly was the Director of Photography and Duncan Raymond was Cameraman. The film was shot with a Sony EX1 and EX3. Jay Sheehan of Garrett Audio was Production Sound Mixer. The film was distributed by Maxim Media International

neg: Shadow Morton George Goldner because his whereabouts could never be pinned down. He was a key architect in creating the girl group sound of the mid-1960s, by continuing to write and produce hit teen melodramas for the Shangri-Las and the Goodies, including "Leader of the Pack", "I Can Never Go Home Anymore", "Give Him A Great Big Kiss", "Past, Present and Future" and "Sophisticated Boom Boom". These juxtaposed teen lyrics against a mixture of pop, R&B and even the classics, with sound effects and inventive percussion. In 1967, his successes continued after the collapse of Red Bird when his production of Janis

neg: Khalil Chahine was also partially responsible for developing the sound and acoustic treatment of MusicHall (Beirut) and Metro Al Madina, two of Beirut's premier live music venues. Chahine has worked as an FOH & monitor engineer as well as in the role of Music Director for several productions. Khalil Chahine Khalil Chahine is a German-Lebanese audio engineer, mixer, and music producer. Originally from Beirut, he has worked with artists and musicians from the Middle East, Europe, and North America. Though he studied music and played keyboard as a child, an early interest and aptitude for math and sciences drove Chahine to complete

neg: Alsamixer and / keys can be used alternatively for help and proc modes. , and keys are used to switch to playback, capture and all view mode, respectively. Tab key toggles the current view mode circularly. Quit the program with ALT+Q, or by hitting the Esc key. Please note that you might need to hit ESC twice on some terminals since it is regarded as a prefix key. Alsamixer alsamixer is a graphical mixer program for the Advanced Linux Sound Architecture (ALSA) that is used to configure sound settings and adjust the volume. It has an ncurses user interface and does

neg: Yamaha YM2203 ADSR envelope generator. The output of these cells could be either summed together by the mixer, or fed into the input of another cell, in 4-cell batches creating the final sound values or "channels". 4 operator cells per channel allowed a total of 8 different permutations of cell connections, known as "algorithms" or instrument patches. The YM2203 has the following features: The SSG module implemented the YM2149F's three SSG channels and dual GPIO ports The YM2203 is used with a YM3014 external DAC companion chip. Yamaha YM2203 The YM2203, a.k.a. OPN (FM Operator Type-N), is a three-channel sound chip developed

neg: Vision mixer United States, the equipment is called a video production switcher, and its operator is known as a technical director (TD). Besides hard cuts (switching directly between two input signals), mixers can also generate a variety of transitions, from simple dissolves to pattern wipes. Additionally, most vision mixers can perform keying operations and generate color signals (called mattes in this context). Most vision mixers are targeted at the professional market, with newer analog models having component video connections and digital ones using Serial Digital Interface (SDI). They are used in live television, such as outside broadcasts, with video tape recording (VTR)

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Provoked (Henry Rollins album) Henry Rollins. Richard Bishop – Production and Editing
 Geoff Barnett – Project Coordination, Additional Production and Editing
 Ward McDonald – Recording
 Rae Di Leo – Mixing
 Jen Murse – Package Design
 Keith Jones – Cover Design
 Maura Lanahan – Photography Chris Fouracre – Producer
 Nikki Parsons – Director
 Ray Moore – Senior Cameraman
 Bob Mossey – Sound
 Reg Wrench – WT Editor
 Mike Aiton Browne – Dubbing Mixer
 Anna Bonallack – Designer
 Lesley Davies – Production Manager Provoked (Henry Rollins album) Provoked is the 15th live spoken word album by Henry Rollins, released on April 1, 2008 as a CD/DVD