MEDIA

DECREE VIDEOS

These videos were shot on a shoestring budget with a few LED lights, a ladder, and a DSLR camera.

Drums and Percussion: Scott Taylor; Lighting Designer: Dave Pruet; Production Sound Mixer: Dave Pruet; Videographer: Partick Fisher; Directed by: Patrick Fisher; Produced by: Patrick Fisher; Co-Produced by: Scott Taylor and Dave Pruet; Venue: Sherwood Oaks Christian Church.

PRO TOOLS EDITS

"cras" post production

Post Production - the editing of raw footage to cut scenes, insert transition effects, working with voice and sound actors, and over dubbing. Post-production is the third and final step in film creation following the pre-production and production phases.

radio spots

Myself, and two other members of my class created three radio spots. A 15 second, 30 second, and a 60 second spot for the Rolling Stone/IMAX Theater.

 tv commercial

Myself, and two other members of my class created a 30 second TV Commercial as a continuation of our Post Production curriculum. This is what we are calling the "Snickers - Kiss" commercial.  Please forgive the video quality.  I believe it was like this when we started editing. 

All tracks and sound effects were recorded and edited in Pro Tools. Pro Tools - a (DAW) Digital Audio Workstation designed to be the industry standard for tracking and editing in the recording industry.

Pro Tools Editor: Logan Powell; ADR (Automatic Dialogue Replacement): Logan Powell, & Scott Taylor; Foley (Sound Effects): Patrick Aiken, Logan Powell, & Scott Taylor

Pirates of the Caribbean movie trailer

10th Cycle Project

Just like the 30 sec. commercial above, we also got to edit a 1 minute clip of a movie trailer.  This process was a little more in-depth.  As well as recording an orchestra for the soundtrack, we also were in charge of the Foley (Sound Effects), and ADR (Automatic Dialogue Replacement).  We were responsible for everything that contained audio in this clip.  During the class after everything was recorded, as homework, each one of us had to mix down the segments of the trailer.  We mixed the Foley, ADR, and Sound Effects then voted on who had the best mix overall.  After the vote came in I am proud to say that I won the Foley mix down, ADR mix down, and Sound Effects mix down.  After all was said and done, my final product was voted the best overall.  Yes this was my first ever movie trailer and experience doing such work, but given that, I think it came out extremely well!  I am proud for what I did at that point in my life.  I hope you think so too. 

All orchestral tracks were recorded on an SSL E/G 4000 series console then dumped into Pro Tools for editing. Sound effects were recorded and edited in Pro Tools.

Pro Tools - (DAW) Digital Audio Workstation designed to be the industry standard for tracking and editing in the recording industry.

Description

4000 series

In terms of classic consoles, the SSL 4000 G-Series (including the G+) continues to be popular among mixing engineers in Rock and Pop genres. Notable mixing engineers using the 4000-Series are Bob Clearmountain, Chris Lord-Alge, Tom Lord-Alge, Andy Wallace, Mark "Spike" Stent, Will Schillinger and Alan Moulder. In 2005, platinum-selling Bristol band Massive Attack based their new studio facility around a 4056 G+ Special Edition console.[11] SSL claim that the 4000 has been the mixer behind more platinum selling albums than all other consoles combined. SSL's first 4000E (serial #001) is currently in service at Sonic Ranch Recording Studios in Tornillo, Tx. Price: $60,000 - $100,000

5th cycle recordings

These two songs were tracked and mixed on one of the top names in recording consoles in the recording industry; a Neotek Elite Studio Recording Console. 

Description

Neotek Élite consoles provide contemporary multipurpose studios with outstanding flexibility, superlative sonic performance, and ordering options which allow each console to be configured for maximum productivity in its specific working environment. The Élite offers audiophile performance microphone preamplifiers and completely transformerless, high speed circuit design for exceptional integrity when tracking. In mixing mode, engineering creativity and ease of use is maximized by full command of a large number of input channels, the availability of powerful equalizers, comprehensive routing, and audio system integrity that maintains the subtle qualities of each signal within a complex mix. In addition, the Élite can be ordered with custom options that adapt it to leading edge broadcast production and post production applications.  Price: starts at $96,500

Tracking & Mix Engineer: Mike Balzarini; Acoustic Guitar: Dustin Ike; Bass: Cesar Legazpy; and Drums: Scott Taylor

Copyright © 2009 Mike Balzarini - All Rights Reserved!