“An Open Letter from Your Sound Department” – Part Two
To read “An Open Letter from Your Sound Department” – Part One
visit: https://actioncutprint.com/ezine-13/
This letter is being written by audio professionals to help
directors and producers understand how good sound can be recorded
on the set. We want to help you make the best film possible.
LOOPING
It is important to understand the gravity and consequences caused
when the words “We’ll loop it” are used.
You are obviously aware that extra ADR adds a financial burden to
your budget, but the consequences are much greater than that.
Looping is only an answer for situations where all else fails!
It’s not a quick fix later if the original set problems could
have easily have been rectified with just a little time,
knowledge or communication. Looping means that you are also
making a huge artistic compromise that damages the film in many
other ways in which you may not be so aware.
Obviously, you realize that the actor’s performance is always
better in production than in an ADR booth. Making a film is an
artistic endeavor that lives forever! You cast great actors to
bring together the collaborative efforts of film making and then
you lose the essence of the scene by looping! The voice of a
great actor totally in character, moving and interacting with
other actors in three dimensional space is a treasure. It
breathes life into the film.
Sure, ADR will have less noise than even the best set recording
made with cameras rolling, but in fact we know it lacks any
spontaneity, as well as the emotional truth of what’s captured
when you use your artists talents on the set. It can’t be
duplicated. ADR is not acting. The greatest method actors all
hate it and at best, it is only a close recreation of the
original scene.
Looping also just eats into a post budget’s financial and time
constraints, which would be far better spent utilizing their
magical tools to enrich the film.
When you just have to loop, the new forward thinking by many
respected post sound professionals (such as Randy Thom from
Skywalker) is to loop it immediately on or close to the set and
as soon possible after the scene. These advocates know that the
performance will be better so soon after filming the scene and
the sound will be more natural if done in the same environment
with the offending noises locked down. There are companies that
specialize in on set looping using the video assist tapes for
picture in portable studios.
Looping at best is usually fiscally irresponsible. Be sure that
the audio problem really can’t be fixed BEFORE you make a
decision that you will regret later. Never allow the simple
impatience of the moment on set be your real reason to loop! Be
sure you have first covered all reasonable alternatives.
SOUND PROBLEMS ON THE SET
The majority of events that ruin sound tracks are totally
predictable and happen over and over, show after show, year after
year.
These are obstacles that are clearly identifiable and
quantifiable. The difference between getting good sound or bad
sound is often determined by how many of these predictable
negative factors take place on your particular show and how they
are handled.
There are few problems that don’t have solutions if proper
diligence can be taken in advance. The sound mixer is your
advocate here. Let’s try to identify the audio problems which
each craft brings to your film.
PRE-PRODUCTION
Good sound begins by anticipating the outcome well in advance.
Communicate early and often with your mixer in pre-production.
Pay the mixer to go listen to potential problem sets ahead of
time. Let them make a mock recording to see what can be dialed
out in post. Do this before the locations are locked in and
before the scouts with your key department heads. If the mixer is
still on another show, have them designate a trusted associate to
go for them. In the end, it’s cost effective.
LOCATIONS DEPARTMENT
More can be done here to save a film’s audio than any other
department. Picking sets should have consideration for sound. At
least try to weigh in environmental noise factors! We just ask
that a minimal amount of consideration be given to potential
audio problems. Often, we shoot in a place which could have
easily been substituted for another location or on a weekend.
Many times we film at a location which has construction, traffic,
schools, airplane patterns and other background noise which are
quite obvious. Only shoot those kinds of locations when it’s
absolutely necessary and essential to the film.
Lock down all the noise problems before we get to the set.
Always consider the control of the air conditioning. This is a
must! Without a/c control, the audio background will change from
shot to shot as the air goes on and off. If it is a large
building, have someone standing by with a walkie-talkie to turn
the air back on after each shot. When exterior, it can be just as
important to kill a/c units that are near the set.
Have control on all noise makers in sets such as bars, offices
and hospitals. All refrigerators, computers, ice makers, x-ray
and other machines must be able to be turned off.
Ask to schedule filming during non- work times in locations such
as bars and restaurants.
Avoid tin roofs during rainy season.
Make sure sets can be cabled by electric and still keep windows,
doors and openings closed.
ART DEPARTMENT
Confer with the sound department when adding noisy set furniture,
computers and machinery.
Try to consider overhead mics before building low covered
ceilings, hanging lamps and cross beams.
Inject foam into constructed stairs and steps to get rid of
hollow footsteps over dialog.
Whenever possible, carpet sets to deaden echo and live rooms.
Especially consider these taking this step in rooms where the
majority of dialog takes place.
ASSISTANT DIRECTORS
None of these implementation plans will succeed if the AD’s don’t
support YOUR sound on the film. Sometimes they don’t! The crew
will take their cue to stop co-operating if it’s clear the AD’s
react at the expense of getting good sound. Derogatory statements
like “waiting on sound” and “just loop it” are unproductive and
sap our spirit.
Get police traffic lock downs when possible.
Get quiet lock ups on set. Do not allow any walking. Station your
PA’s at key locations outside, and most especially under windows.
(Keep the PA’s from talking too) “Lock It Up” means that we
should not hear any work noise from our crews. No engines,
talking, etc. Have your walkie set up with priority override
function so as to announce the roll across all walkie-talkie
channels being used by all departments.
Allow the sound department to make quick corrections that are
reasonable.
Enforce pantomiming from the background extras.
Allocate a reasonable time and place for an actor to get wired.
It won’t help go faster if you push the sound crew to wire faster
if the actor insists on getting wired at the last second on the
set. Conversely, don’t make the boom operator sit outside a
star’s dressing room just wasting valuable time that could be
used to work out other sound problems on set.
When there are closed rehearsals, make sure the boom operator
gets to see at least one rehearsal before the actors leave the
set.
Honor wild line requests before releasing the actors.
Honor room tone requests before breaking the set up, and stop all
talk and movement. Room tones are very important to get before
the ambient sound changes.
In plane infested locations, roll as soon as the engine noise
tails out before another plane comes in. Keep the set quiet
enough to determine the status of the incoming and outgoing
planes.
Be sure to inform Sound Department at least two days ahead of
playback days. Have the office send a post approved tape with
sync. Don’t expect that a CD or cassette will suffice.
Have all walkie-talkies, cell phones and pagers turned off during
takes and final rehearsals. They can wreck havoc on wireless
microphones.
———————————————————–
An Open Letter from your Sound Department. Written by John Coffey
<mailto:johncoffey@coffeysound.com>, with help from Randy Thom,
Jeff Wexler, Noah Timan, Mike Hall, John Garrett, Scott Smith,
Rob Young, Mike Filosa, Wolf Seeberg, Darren Brisker, Charles
Wilborn, Todd Russell, Brydon Baker, Larry Long, Glen Trew, Dave
Schaaf, Charles Tomaras, Klay Anderson, Brian Shennan, Hans
Hansen, David Marks, Bob Gravenor, Von Varga, Mark Steinbeck,
Carl Cardin, Eric Toline, Joseph Cancila, Stu Fox, Peter Devlin,
Matt Nicolay and many others.
Copyright (c) 2001 Peter D. Marshall / All Rights Reserved
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