Page 38 - CX30_book_070618.indd
P. 38

The first time I got hired to do on-set audio for a film, I was 15 minutes late. I had no wireless equipment; just a snake cable for the boom mic, a cheap boom pole that I’d just bought, a shock mount, my computer’s interface for recording music, and my four-year-old laptop with Pro Tools.
    And on top of that we’re shooting in a burned-out house that the fire department had deemed unsafe. Because it was unsafe: At one point we were literally standing on beams of charcoal.
As soon as we started shooting, I called the production assistant over because I couldn’t boom and run Pro Tools at the same time. So here it is, the first day on my first job, and I’m pulling the only production assistant on the set away just to press “record” and “stop” between takes. And then the director has this elaborate plan to mount 12 microphones on the ceiling, because there’s a big scene where six people are talking at once, and he wants viewers to be able
to hear it in different ways through a VR headset. But it didn’t matter anyway, because the audio didn’t work. The microphones were too close together.

   36   37   38   39   40