A Quote by Jeffrey Zeldman

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment. — © Jeffrey Zeldman
There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.
We have so much access to video and audio recording equipment that it's kind of the new pen and paper.
When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.
When I first started recording music, I was actually singing about microphones, equipment, recording.
Sometimes, the best songs are the ones you write without any pen and paper or audio recording device or guitar in your hands. Because there's nothing between you and the melody; it's just a great lyric.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
Do you have a record contract? I have a recording agreement. What's the difference? One is an agreement and one is a contract! I am a man who deals by ear.
I noticed a lot of bands always having a few people in the band being interested in recording and audio production, so I got the idea to create products that would appeal to them. Rather than create tools that only engineers could understand, I designed tools that any musician could use and get instant great sounding results.
WARNING: The following is a transcript of a digital recording. In certain places, the audio quality was poor, so some words and phrases represent the author's best guesses. Where possible, illustrations of important symbols mentioned in the recording have been added. Background noises such as scuffling, hitting, and cursing by the two speakers have not been transcribed The author makes no claims for the authenticity of the recording. It seems impossible that the two young narrators are telling the truth, but you, the reader, must decide for yourself.
The Audio Home Recording Act directly says that noncommercial copying by consumers is lawful.
I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.
I was recording my audiobook, and it's so weird. You write things, but then to have to say them out loud in front of people feels so different. So when I was recording my audiobook, I was telling an embarrassing story in front of, like, a room full of audio-tech people that I don't know, and I was like 'Oh my God, this is so cringe.'
I am always in self-doubt... every moment of my filmmaking. I am supremely confident when the story is being written and everything is in our head. But the moment we get into the filmmaking, I start doubting myself - from the camera angle to the re-recording to getting the actors to do their shots.
My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.
I'm a studio guy. That's really what I love the most. I'm so fascinated with audio gear and recording techniques and whatnot, it's pretty mesmerizing.
I was a musician who began playing with computers, to see if they could make some tasks simpler. I developed some "tricks" or strategies for working with audio files, and then discovered that the same tricks could be applied to video files, or really, any type of data. Previously I made many different kinds of music. I did some work as a composer of film scores. In that role, my task was to create audio to match and deepen the visual. In my work now, the role is often reversed: I have to create images to match and deepen the audio.
As a child, I would say that I wanted to become a dancer to honour music. For me, dancing is the physical translation of the audio recording.
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