Film and TV location Sound
The Production Sound Mixer controls recording levels, equalization settings, track assignments, media formatting and oversees the creative and technical operation of the Production Sound Crew while bringing the Director’s story to life. Being the department head, the mixer has the responsibility of interacting with the producers, editors and other department heads on the production to achieve the goals of the director and deliver the highest quality of the spoken word from the actors. The job of the Production Sound Department is separate from Post Production Sound in that it is concentrated in the area of live filming while the cameras are rolling, and actors are performing.
The Microphone Boom Operator is responsible for the critical task of microphone placement. The Boom Operator uses the “boom pole” or “fish pole” with a microphone mounted on the end. These can extend upwards of 15’ to swing over the camera, lights and actors on set. When space permits, the “Fisher Boom”, is used. This is a special piece of equipment that gives the Boom Operator a more precise control over the orientation of the microphone, and a greater range of movement. When circumstances limit the use of either of the booms, wireless microphones are used, mounted to the actor’s body or clothing.
The Utility Sound Technician provides a variety of much-needed assist skills to the Production Sound Mixer and the Microphone Boom Operator, including the operation of an additional boom pole when needed, assisting during the placement of microphone “plants” (which are hidden microphones that are strategically placed on the set in order to capture dialogue from the actors,) placing radio microphones on actors while hiding the radio transmitters under their wardrobe, additional occasional recording, additional playback, assisting with on-set wireless communications, providing other departments with listening devices, keeping inventory, ordering necessary additional equipment, quieting noisy props, footsteps, crickets and other tasks that help the Production Sound Crew work quickly and avoid delays in production.
Courtesy of Peggy Names.
Chez is an independent sound engineer based out of Los Angeles that enjoys work surrounding FOH, including mixing, teching, and designing sound systems. She is currently touring with the artist, LP (iamLP.com) as her Tour Manager and FOH Engineer. (more…)
What does it take to be a great FOH or Monitor Tech?
These positions are often called babysitting gigs, as in you are babysitting the FOH or Monitor Engineer. But every engineer knows how important it is to have a great tech and all have had experiences with less than helpful techs. (more…)
Soundwomen- They do exist!
At one time, thought to be the stuff of myth or folklore, much like the Yeti or Bigfoot, stories and sightings of the elusive woman audio engineer are becoming more widespread. With the abundance of digital cameras and smartphones, there has actually been some credible evidence verifying that they do in fact exist. (more…)
By: Malle Kaas
My god, these months at Brit Row went by so fast. It just shows how fun and exciting the course has been. It is a bittersweet time having to say farewell to my talented and dedicated classmates and the awesome staff of instructors. Yet, it is exciting to start on this new adventure in live sound. I hope you have enjoyed reading my blog about my experiences at Brit Row. (more…)
Part Eight: How I have Changed?
By: Malle Kaas
Did the ten years I was away from the industry change me?
Well, of course, I have changed in the last ten years, things in my life also changed. I started working as a nurse, but becoming a nurse was not really a dream of mine. At the time though, I wanted a career that I could work anywhere and becoming a nurse filled that desire. (more…)
Smaarter Than You- Who works for who when it comes to technology
In his book, “A Sense of the Mysterious”, author Alan Lightman suggests that technology has grown burdensome despite its advances because we’ve reversed the human-tech roles – whereas innovation used to strive to create purposeful tools for serving mankind, it now creates robotic nanny-masters that give us instructions and objectives, and we, in turn, serve them. Now, there’s no doubt that we have and do things on a daily basis, from the terrific to the mundane, that have been gifted to us by science and computers and math that look more like hieroglyphics than actual numbers. (more…)
Part Seven – How has the Industry Changed in the Last Twenty Years
I have noticed that a lot of things have changed in the industry in the last twenty years. (more…)
Mr. SoundLady – Rachel Ryan
Rachel Ryan has been working as an independent audio engineer for the last eleven years. She has worked as a FOH and TM for School of Seven Bells, Phosphorescent, Little Boots, Nightbox and Honeyblood. FOH for Albert Hammond JR, MNDR, Streets of Laredo, and as ME for Silversun Pickups, The Strokes, and Joe Russo’s Almost Dead. She is currently doing monitors for The Strokes and FOH for PHOX. When she is not touring she works at the Brooklyn Bowl as both a FOH and Monitor Engineer. (more…)
