| bio | website | eecs.berkeley.edu/~loarie |
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| location | Berkeley, CA | |
| age | ||
| visits | member for | 1 year, 4 months |
| seen | 2 days ago | |
| stats | profile views | 16 |
I work as a Systems Administrator and a Technical Consultant to the Helpdesk for the EECS (Electrical Engineering and Computer Sciences) Department at the University of California, Berkeley Campus. This has been my career for the last 24 years which began as an electronics technician. I worked my way to principal electronic tech and then crossed over to systems administration about 12 years ago. My strongest experience is with computer hardware and I am usually the go to guy when laptops and desktops start smoken or won't power up.
One of my most interesting assignments at Berkeley was in 1992. I was put on a special team with NASA trained techs to fabricate an assembly bound for the Arecibo radio telescope. This was a special 4 million FFT based spectrum analyzer for SETI project SERENDIP III under the direction of UC Berkeley physicist Dan Werthimer. I got to build hardware to listen for ET!
In my off hours since 1977 I have been working with music, still photography, and small scale sculptures some involving digital electronics. However in 2008 after a 35 year hiatus I have returned to my own independent cinematic (video) and music productions.
Presently I use a Sony camcorder (HDR-CX500v) and I use Sony Vegas Pro 10 as my main video and music editing suite. I have experience with both Windows Movie Maker and Windows Live Movie Maker, and I am a tiny bit familiar with iMovie. I also have a B.S. in Cinematography from SIU-Carbondale, 1974 and a M.F.A. in Electronic Music and Recording Media from Mills College, 1977.
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Mar 7 |
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How do audio engineers (physically) treat rooms for studios? Sorry for the delay, your question is very clear now and looks like you have some great answers too. Regarding blankets etc, I was thinking of something that you might already have handy to test and see how it makes a difference. Try hanging some blankets on the walls, and place a rug or blankets to cover as much of the floor as possible. You don't need to buy a calibration CD, learn to trust your ears. |
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Mar 7 |
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Who owns raw footage? Albeit this a legal question and should be addressed by an attorney familiar with all the details of your case, it is an interesting question, and I am curious about the outcome. |
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Mar 6 |
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Generating massive-sounding duplicated noises I believe you are looking for how to create the "Wall of Sound" which was pioneered by Phil Spector in the early 60s. Google "Wall of Sound" to learn more. |
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Mar 6 |
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Learning how to create, record, mix, and master audio There are books and text books on audio engineering, most specializing in one thing like building speakers or sound reinforcement, or acoustics etc. I don't know of any one book that has it all, and since the technology changes all the time, there is a need for updating much of the material that is already out there. Consider also, that some of the coolest creative things done in a recording studio may not have ever been documented in an audio engineering book but an interview. Case in point, interview with Rudy Van Gelder: allaboutjazz.com/php/news.php?id=93918 |
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Mar 5 |
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How do audio engineers (physically) treat rooms for studios? Thanks. You are looking for ways to optimize listening to your mix in this room using studio monitors vs headphones? You're suggesting the room is too wet, perhaps too alive is another way of stating this. Have you tried the following: rugs on the floor, cover the walls with a blanket, hang a blanket from the ceiling, all in an effort to dampen the sound as in make it flat. Traditionally, the mixing room should not color the sound in any way, allowing the engineer to hear everything with the same emphasis as to assert which things need attention in the mix. |
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Mar 5 |
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How do audio engineers (physically) treat rooms for studios? It's not clear if you are asking about sound proofing the room to keep the outside noise out or if you want to improve the acoustic properties of the room for making live (with a mic) recordings, or both? |
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Mar 5 |
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Frequency of refreshing for a green wall Thank you Dr. Mayhem. And, sorry I can't predict the refresh rate. |
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Mar 2 |
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Frequency of refreshing for a green wall Yes, I agree 100%. I should have mentioned this explicitly and not implied it. Thanks. |
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Feb 28 |
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How to technically tell if a video has been sped up or not? What you are looking for is perhaps beyond the expertise of this group, Forensic video analysis is not something I would expect to get a solid answer on in this forum. However, you never know, maybe one of the CIA or FBI Forensic Video experts hangs out here? It never hurts to ask. Conclusion: understanding time constants, depth of field, slow shutter speed, and the possibility that this was a live broadcast are not technical enough to satisfy your answer. |
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Feb 27 |
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Correcting exposure flickering in time-lapse footage (in After Effects) It is not clear to me that the exposure controls (Iris and Shutter) were locked down for the entire recording. What about white balance was this locked down and to the appropriate light source? ...and what is the lighting, tungsten? fluorescent? If you were shooting with a fast enough shutter and using fluorescent the camera might pick up the slight flicker of the fluorescent lamps. |
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Feb 27 |
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How to create film sounds like those booms? Yes, although the example is a bit more hollow than what I think of as a boom. If you do record a drum, try different ones to get a variety of timbres, more choices is better. You can also combine them. |
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Feb 24 |
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How to technically tell if a video has been sped up or not? FYI: I am a guitarist, and the hand movements look spot on. |
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Feb 24 |
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How to technically tell if a video has been sped up or not? Thanks for allowing me to review the video. One one hand the crane like shots are a reference for the motion, these seem to indicate that the video was not sped up as the crane motion is pretty consistent. On the other hand after 3:38 when the piece picks up tempo, the medium and close up shots of the lead guitar show more blurring, which does look a bit unnatural. I think that since this was shot in a studio (less light than outside), the camera has to drag the shutter a bit and so blur would be expected, and faster tempo is going to make a CU of a hand appear more slurred. |
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Feb 24 |
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How to technically tell if a video has been sped up or not? Understood. As you know there are numerous ways time can be manipulated. It may start with time-lapse or slow motion right in the raw shot, and it may include further manipulation in the video editor, either compressing the timeline or stretching it. The range will depend on the video editor, e.g. Vegas Pro will allow a 4 x either way. When you have an instance where two things are in the same frame but moving in different time domains, aka bifurcated time, it should be obvious and usually the extreme as illustrated here: vimeo.com/29213923. However, your case suggests something close. |
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Feb 24 |
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How to technically tell if a video has been sped up or not? Would you consider posting a link in your question to the Youtube vid you referenced? |
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Feb 21 |
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How do I PROPERLY slow down a 60 fps clip in Vegas Pro 11? I am very sorry I did not understand your question correctly, I have since deleted my answer. |
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Feb 14 |
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Recording heavy metal guitars with almost zero budget To clarify, I don't really know if the majority of pro guitarists prefer a mic on the amp but I do know a bunch of blues guys that prefer the mic/amp thing. Jazzers, mostly want clean so going direct may work better for them. |
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Feb 13 |
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Tripod duel, which one is the best? Ok, so you need to learn about the 'crop factor' so you can convert your lens numbers into a meaningful number. |
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Feb 13 |
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Tripod duel, which one is the best? Are you saying 18-200 mm based on a 35mm format? If you are not sure you can learn about "the crop factor" from this tutorial on Vimeo's video school: vimeo.com/videoschool/lesson/127/crop-factor. If this was a 35 mm camera with a 18 - 200mm lens you would have a very wide to about a 4x telephoto. This would cover live action and portrait like close ups. |
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Feb 11 |
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Common newbie mistakes for cinematography? You are very welcome. This is not a complete list so others may post more and I look forward to learning from their experiences as well. |