An Open Letter from Your
Sound Department - Part Two
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.
Click here to read An Open Letter from Your
Sound Department - Part 1
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.
PREPRODUCTION
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 ADs 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 ADs
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 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.
| If you are a Film or
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Peter D. Marshall/www.actioncutprint.com
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