Henchman

When mixing in a Lav with a boom, who do you avoid phase issues? This is why I have told my editors to not us thee mix track. Because of, to me, very apparent phase issues on the mix track.

So, correct me if I'm wrong. The mix track comes from a variety of sources. Boom and lavs. So, what ends up on the mix tracks, lives separate on its own track. So, why wouldn't the editor simply use the boom, until they hit a line or scene where the boom isn't useable. Forgive me if I'm not understanding all the fuss about not using the mix track. And I also think that that there is skill involved in rewards to placing lavs. Yes, anybody can slap a lav on someone. But it takes skill Imthink to do it right. Because the same can be said about the boom. Anybod can hold a boom. But it takes skill and experience to do it right.

The importance of quality lavs. http://www.soundonsound.com/sos/apr13/articles/it-0413.htm Look, I'm not telling anyone how I WANT it to be. I'm simply reporting on what reality is at the end of the chain. And when you're sitting in the hotseat, and the producer is unhappy with the sound of the dialog in a scene, and why it's hard to hear. Guess who gets blamed. Not the mumbling actor. Not the director who didn't tell him to speak up. Not the production mixer for not making sure the lav was working properly or placed properly. But yours truly.

Joshua, it's basically one day to mix. Dialog editors are getting roughly 2 days for the dialog edit.

Pretty much yes to the above. There is no time. And yes, it IS more efficient. There is absolutely no timematnallmin today's post schedule for the average TV show, to spend the time going through listening to what's the best track to use. And given the fact that I have had too many issues whith phase, I would rather have the editor start with the boom, and when there is an issue, use a lav. Going through a 42 minute show in pretty much a day, and getting it ready for a playback on day two. Cleaning up buzzes, hums whistles and noise on every line, doesn't allow for minute checking of available tracks. So yes, I rely completely on the dialog editor and supervising sound editor to make those decisions before it reaches the stage. Our last episode of 12 monkeys had 110 lines of ADR. Mostly due to low talkers and mumblers.

Joshua, the point being, is that it doesn't matter how YOU want to work on set. It's about how the tarcks work in then edit room. And again, talking about TV specifically, it's about getting clean, intelligible dialog. And the producers really don't care about the perspective. Do you know how often I am asked if I can get ridnof all the roomverb on a line? Guess what, we will then cut the lav.

Wel, you can question that decision. but when a dialog editors has 2 days to cut a 42 minute episode, they're going to have to make soem decisions , and do it quick. I have told the editors that cut my shows to disregard the mix track. Go with the boom, and if the boom has issues, THEN use the lav. why do I ask them to disregard the boom? Because I ran into way too many phase issues with mix tracks. As well as the accumulated noise from two or more mixed mics. And trying to match ADR to phasey tracks is almost impossible. And takes way too much time. The number one responsibility I have as a dialog mixer, is to make sure the dialog is clear and intelligible. Because that's what the clients want.

No.,it's actually quite fun. And Mike the bartender is a hoot.

Or we can meet at the Tender Glow. We love it in Granada Hills.

Let me clear something up. I'm not saying disregard the boom. I'm saying DONT regard the Lavs as a last resort backup, so do don't worry about them too much. When they are in fact a go to solution. And wether you like it or not, is besides the point. It's a reality. The majority of shows do not have the type of audio post budgets that HBO shows have. And therefore, don't have the amount of time either. We have to get through a mix of an average show in two days. And that includes the playback the 2nd day with the clients. No predubs. Just turn and burn. There is no time to agonize over all the options.

I know. It's very frustrating. I wish directors on set would push actors to speak up.

We won't even talk about the whispering epidemic that has taken hold, that makes a boom unuseable in a mix.

If it's a single line, then of course. And in cases like that, they'll look for an alt boom. But given the time constraints in a TV mix, we don't have time to spend on matching numerous lines in a scene. We simply don't.

I asked Larry, and it's roughly 60% Lav. Of course we all prefer the boom. So please, make sure to check those lavs periodically. Because we really do use them. A lot.

I'll,get confirmation from Larry the re-recording mixer. I know Breaking bad was all lav.

Its all about matching. And since time is an issue in TV, we would end up using the same mic on a character for speed. I mean, if I am going to make my boom match a lav, then I'll just use a lav for the entire scene. So, get what you can, but make sure the lavs get the most attention. Unfortunately that's where it is for TV.

Yesterday Michael Miramontes came into the studio yesterday to watch us while we were mixing 12 monkeys. What we do is mix for a bit, then answer any questions that might arise. The issue of lavs came up, and we talked about the importance of them. I have seen in discussions, even here, that the opinion is, they are there as a backup in case the book is unusable. Well, that simply isn't true anymore. Especially in the world of television. The majority of what we use in a mix these days are lavs. Because of so many shoots are using two cameras, the boom is either impossible to get into the scene, or when it is, it's unuseable. So, make sure your lavs are in tiptop working condition. Check them out periodically to make sure they are working and sounding properly. Simply because easily 70-80% of what we use in TV these days is all lav. In fact some shows don't use a boom at all anymore. "Better call Saul" is one such show, if I'm correct.

I'm always happy to let people come in. Be it other re-recording mixers or location sound guys. Just drop mea message anyone that's interested. We have shows where we are by ourselves the first day, so its easy for someone to come in on these days. THats really good to know. Thanks.

Hahahahahahaha

Pwhich is why they want to remove TV production form the cap. BecauseTV work DOES provide a longterm industry. Unlike movies, which come and go quickly. Hell, I would push all incentives towards TV.

Silver lake is a nightmare to get out of. Aweful traffic there. I lived there for about 6 months. Never again.

LA has infinitely better longterm options than Vancouver.

Funny. I've talked to a couple of feature re-recording mixers who want to get into TV becasue of the same thing. Sick of the hours when working on a feature. And lots of good TV stuff these days.

Agreed. North Hollywood is really coming up. We were looking to buy there before we discovered Granada Hills. Way less congested. And very easy to get everywhere.

I hear you. Thats why I moved to LA a little over 6 years ago. And people said back then the same. Too many people looking for work. As a re-recording mixer, I wanted to work on better stuff. I moved here right before the writers strike, and still had no problem finding work even during the writers strike. It's worked out pretty well.