See you in a couple

Hey folks,

Next gig is coming up. Thanks for the tips on the T3i and I'll bring back some cool footage to show ya'all.

See you in a couple.

Until then, I leave you with these words:

(turn down your speakers if you mind profanity)

(why didn't anyone show me this video sooner? hah)
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Supervising sound consultant on a film set. Making sure we get useable audio and as much as possible useable audio for final mix.

It's me who says if the audio the boom op and location mixer is getting is OK for mixing or not and to advise or bypass and get the job done as professionally as possible. This will be the third gig I have done this on. It requires knowledge from both ends of the spectrum (location recording as well as dialogue editing / mixing).

Sometimes, you just can't get good audio and I mark it down as "ADR guidetrack" because of a wind machine or power generator or whatever, but I try to steer clear of this type of thing BEFORE it becomes a problem. I inspect where lighting has run their cables and make sure audio is far away from them. I am consulted on locations and research flight paths and other ambient noises that may be a problem - including down to making sure no construction will be happening that day on the street within an 8 block radius. Details like that can save a lot of money and time. And there is no greater satisfaction than seeing the wide-eyed amazement from actors who are told "You're done. No ADR is needed for this film". They are very grateful to the effort put into this because they know their original vocal performances will be preserved.

It's kind of funny, though. It's as if I'm putting myself out of business, being mainly an ADR mixer. I used to lick my lips at a big budget action movie because I knew how many juicy ADR problems they would need to fix on the post production side, but now that I am more on the pre-production side of things, I would say on average for a typical action movie (think about it, blank guns, shouting, efforts, crew noises, explosions, wind machines, you name it) I could save about 80 percent of the production dialogue from having to be ADRed later.

The producer on my last gig told me I saved him an estimated $70,000 in funds that would have had to have been spent on ADR - actor's time and studio/engineer time, which is possibly the best compliment I have ever received in my professional life.
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