Describes a world compatible with anarchism: this is tankie world to me

https://mobile.twitter.com/ashleylynch/status/1424621399767875589

  • viva_la_juche [they/them, any]
    ·
    3 years ago

    Pro audio is like that too. “Oh you think thats bad, back in my intern days I had to set up a whole line array system at 5 am by myself, run the monitors and be at the studio to edit that night after mowing the lawns, and they didn’t pay me a cent!”

    Like there’s some serious patterns of abuse in the industry, “well i was treated this way so the next gen needs to be too.”

    • SoloboiNanook [comrade/them]
      ·
      3 years ago

      Oh hey I'm a field audio guy lol. as kind of a side note, its fucked up how people manage to never give a shit about audio or have any patience for it lol like cmon its crazy important. its also stressful because the only person reviewing the audio is me. at least camera has like 40 fuckin people looking at it to make sure its cool.

      Back on topic though, yeah it is exactly like that. "I suffered through it, so you have to as well" its fuckin dumb lol. I fortunately only had to go through that when i was a PA/Key PA on sets. Nobody really does field audio so i was always the only one doin that shit on indies

      • viva_la_juche [they/them, any]
        ·
        3 years ago

        Oh god yeah, audio is always the first place they make the cuts on budget and it’s baffling to me. Bad audio can take something down in terms of quality so fast. It doesn’t matter if it’s shot in beautiful 8k on a 6 figure red camera, if the audio is all fucked the whole thing feels amateur all of a sudden.

        We just did the mixing for a movie going to Netflix and the audio Is traaaaash. Thank god for modern tools like rx8.

        • SoloboiNanook [comrade/them]
          ·
          3 years ago

          God i hate working on Post sound so much, i feel bad for yall lol im so happy when i just hurl an SD card at DIT and im like LOL NOT MY PROB.

          Yeah its wild how little anyone cares about it, and like you said, its VERY noticeable and as soon as you hear extremely poor audio its painful, yet it is constantly sidelined and ignored throughout production. So many times i'll be like "uhh yeah that last one was rough, i think the lav mic is brushing up on something" and director is like "ITS FINE WE GOTTA MOVE ON". weird as hell lol

          • viva_la_juche [they/them, any]
            ·
            3 years ago

            i just hurl an SD card at DIT and im like LOL NOT MY PROB.

            Lmao. Similarly I think live sound engineers feel that way about ending the job at the end of the night where as we have to keep dealing with the artists for days/weeks/months lol

            The fuckin movie I’m talking about filmed a scene where the protagonist gets in a car and a FUCKING AIRPLANE FLIES OVER HEAD. loudly. like a fucking airplane would. and I have to assume some field audio guy was just like “we’re not gonna-“ only to be cut off and told to move ahead by the director lol we spent a half day just trying to solve that issue.

            • SoloboiNanook [comrade/them]
              ·
              3 years ago

              LOL that exact scenario has happened to me so many times. specifically planes just zooming around overhead and the director is like YEAH WELL WHAT CAN YOU DO?!?!?! Idk chief, maybe wait like 2 minutes?

              Especially filming in Atlanta lol, if you are anywhere in the city you gotta deal with that airport traffic basically every fuckin 5 minutes. thank god for ADR tho lol

              Also is it too hard to ask to schedule the MOS and inserts and shit at the end of the day? so many times im just sleeping in a corner somewhere because there will be like 3 hour stretches of no audio takes and inserts like damn lol

              • viva_la_juche [they/them, any]
                ·
                3 years ago

                Yeah and that was the only take they had of it. We basically did a lot of magic with rx8 and some impromptu foley bc they were out if budget for audio.

                Also is it too hard to ask to schedule the MOS and inserts and shit at the end of the day? so many times im just sleeping in a corner somewhere because there will be like 3 hour stretches of no audio takes and inserts like damn lol

                Good ol’ hurry up and wait shit. I used to do live sound at one of the big arenas here and there was so much if sitting around on my hands until it was time for me to do something and then it’s like “go go go”

                • SoloboiNanook [comrade/them]
                  ·
                  3 years ago

                  lol forreal. ill be napping somewhere and someone will just be like YO THEY ARE WAITING ON YOU GET ON SET GOGOGO.

                  I just checked out rx8 and damn this shit looks like fuckin wizardry, 100% gonna check this out. i can barely believe that its really as effective as it seems at isolating and repairing audio. I rarely am doing post sound but this could be a lifesaver at my work where im filming in a noisy ass warehouse all the time

                  • viva_la_juche [they/them, any]
                    ·
                    3 years ago

                    Izotopes shit is incredible. I use ozone 9 everyday lol. It’s not perfect but it’s a lot better than just eq and compression and hoping people won’t notice haha

                  • viva_la_juche [they/them, any]
                    ·
                    3 years ago

                    Oh one thing it is pure magic on is ambience matching. Saved me a bunch of times when gluing stuff together and they forgot to record room tone/sound

    • CrimsonSage [any]
      ·
      3 years ago

      “well i was treated this way so the next gen needs to be too.”

      And often this isn't the case either, originally this shit was either paid or the entire production was not for profit so it was fundamentally different. It has only been as corperatization and the profit motive have taken, that the system of indentured labor has become expected.