tag:blogger.com,1999:blog-5810546380419766499.post2054191035528808998..comments2009-03-25T14:30:56.368-07:00Christian Dolanhttp://www.blogger.com/profile/15432093362484584503noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-5810546380419766499.post-13716889865923391432009-03-25T14:30:00.000-07:002009-03-25T14:30:00.000-07:00Hi Laura,<BR/><BR/>We went to DAT for this film as well (PD-4), and while the machine performed flawlessly, just the occasional instance where I have to go back to tape to re-transfer something (after all these years, <I>still</I> dealing with people who accidentally fold split tracks down to dual mono....grrrrr), has made me appreciate solid state media so much more.<BR/><BR/>As for field/post, I've generally made my living doing production, but post has been picking up lately, and I hope to do both in parallel.<BR/><BR/>Thanks for reading! :)Christian Dolanhttp://www.blogger.com/profile/15432093362484584503noreply@blogger.comtag:blogger.com,1999:blog-5810546380419766499.post-80599742776264256432009-03-24T20:04:00.000-07:002009-03-24T20:04:00.000-07:00Cool thoughts about post and location sound. I used to do location sound for shorts and independents that I would later do sound design and post on. Now, strangely, though I teach location sound at NYU grad film, I focus on post production. My current project is one I recorded location sound for over a year ago, and thank goodness I took detailed sound reports- it came in very handy when looking through the DATs for alt takes.<BR/><BR/>Oh, I also am a part of the Blastwave FX team, so nice to see you made it to the top twenty.<BR/><BR/>-Lauralaurahttp://www.sinnsounds.comnoreply@blogger.com