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Some Tips From My Last Location Sound Gig

TUGELA SKYE

I have this weird love-hate relationship with location sound. It’s still a relatively new area of expertise for me, but there have been some amazing, and not-so-amazing experiences. I recently went on a trip with a well-known film producer, Timothy Hay from Hellmot productions. It was a last-minute adventure, and I must admit one of the coolest experiences I have ever had. So, I thought I would tell you a bit about the trip, what I learnt and what I might do differently next time.

So, the gig was as follows: Tim was the winner of the My Rode Reel competition the previous year and this year he decided to go all out for his second entry. I was contacted by a friend of a friend of a friend (because we all know that’s the only way to get work in this industry haha!), who asked me if I was free to do a gig in about two weeks.

We were going to hike up to Tugela Falls (the highest waterfall in the world), stay overnight, and capture some truly beautiful footage. Would I be interested in going? My answer was a simple “HELL YES!”

So, I got acquainted with the gear, the nature of the job, and what was required of me and took off on the adventure of a lifetime.

Here are the things I faced, and tips on what you might need to consider for your next location sound excursion:

When doing a location sound recording gig that’s going to be in the middle of the mountains, make sure you take the right camping gear!

I found myself having to share a one-man tent with another girl, we froze through the night and I totally forgot to bring simple things like a coffee cup. Yes, we had to be very careful as to how much weight we were carrying up the mountain (it was hellishly steep), but things like correct hiking boots would have saved my feet a few weeks of blister recovery.

No matter WHAT the film producer says, make sure you take extra cables!

This was a funny one – when working with videographers, or anyone else for that matter, and you haven’t had a chance to check the quality of the cables beforehand, just bring your own in case. We had a faulty cable running into our Zoom recorder and it meant we couldn’t use all the mics we had hoped to use for the film. This made room for error as we were relying on a limited feed for our takes. If something went wrong, we didn’t have backup feeds. So, just tuck them in a pocket if you must but take extra cables with you!

Make sure you are familiar with the gear.

I knew what I was doing but had never used the model that was provided. So, before the gig, I spent some time on YouTube simply making sure I had a good idea of simple things, like where the menu button on the recorder was. Trust me, you don’t want to look like an idiot when you go ask the DOP where to find the menu button on a piece of gear you should be proficient at.

Take as much wind protection as possible.

I’ve never experienced as much wind as I did at the top of that mountain, if it hadn’t been for the wind protection we brought with us, everything would have been ruined. Even if you don’t think it will be windy, take it with you.

Don’t be afraid to tell the DOP that it was a dud take.

The worst thing happened – we were taking a shot for the climax of the film. After a few takes and struggles, we got the take.

Everyone cheered.

I said, “Guys, we have to do it again.”

When they asked me if I was sure, I hesitated. For a moment I was embarrassed that I was the one killing the buzz after that amazing take, but I knew professionally that I needed to do my job, and I needed to do it well. I, very assertively said, “I’m sorry but you’re going to have to do it again, we can’t fix this in post.” And I am so glad I did.

Take in the view

We walked with 20-30kg bags on our backs, shooting in between scaling up cliff faces, and you know what – every time I got a chance, I looked around me and took it in. I was in awe. I couldn’t believe how magnificent the view was, and that I could justify this as “work”. The people, the place, the purpose – all exceeded expectations.

Be realistic with your post-production limitations.

So, because it was all done about a week before we had to submit the film, we had about 3 days to do all the audio post-production editing. I spent those three days doing nothing else. I had to know when to say, “this is the best we can do for this part.” But I also had to not be afraid to say, “I don’t think this will work here”.

Do push-ups.

You may laugh but carrying a boom mic for two days straight can take its toll. Make sure you get your upper body in good condition if you don’t want weeks of residual backache.

After about a week of filming and editing, we did it! And the feeling was SO good. I couldn’t put into enough words how much I enjoyed the experience – the early 4 am starts, the relationships and banter, the late nights editing, and the lasting connections made.

So, next time you go on an exploration-style sound recording gig, keep in mind these things, and good luck with your adventure!

SoundGirls Launches Initiative for Members Working in Production Sound

Film is one of the most powerful forms of media in our society.  Historically, it has been controlled by a specific privileged group of people, but now is a critical moment of change in human culture.  More and more it is recognized that diversity of thought would create a healthier society and world. For this to be accomplished, we need diversity among the people who produce films.

SoundGirls is on the front line of this change. Fewer than 5% of sound professionals are women, and SoundGirls works to increase that percentage.  Starting in 2013, as a grassroots organization for women working in audio and we have grown into an international organization with over 6,000 members and chapters worldwide.

One of the barriers for women and non-binary people entering this field is access to work-experience and mentors. Last year, SoundGirls Productions was launched to proactively create employment and mentoring for women, non-binary people, and marginalized groups in sound.  We provide sound services and work-experience for live events in the Los Angeles area. This initiative will not fall under SoundGirls Productions, but under the mission of SoundGirls, and will provide members wanting to work in the film industry real-world experiences working on film shoots.  To further these aims, we are gathering a pool of location-sound gear that members can borrow to work on film shoots to gain valueable work-experience.

It is our hope to find audio manufacturers and members who support our mission and will sponsor SoundGirls by donating gear.  We need industry-standard microphones, mixer/recorders, and wireless lavs, as well as boom poles, bags, cables, timecode devices, and accessories. Soundgirls is a non-profit organization, and donations are tax deductible.

If your company would like to donate, please get in touch with us, and we will coordinate shipping and invoicing.  Your donation will be put to good use and greatly appreciated. soundgirls@soundgirls.org

The SoundGirls Team

Equipment List

We are happy to accept b-stock, demo units, used equipment, or monetary donations

Lectrosonics

Sennheiser

Sanken

Sound Devices

Deneke

DPA Microphones

Zoom

Zaxcom

Microphones

Windscreens / Shock Mounts

Boompoles

Bags/Harnesses

Other Gear

 

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.

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