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  1. Having agreed on the money etc., tabled negotiating prep days. Tech scout (there will be five days) and a day to confab with production designer / prop master / costume designer since period piece with possibility of period mics. I want to be well armed when the discussion resumes. The scout is sound's introduction to all the people able to make the difference between 'OK' and 'great' sound. If sound’s not on the scout the message is clear: our work doesn’t matter. Sound matters. Sound is subtle (unconscious) but here's a fact: 100% close ‘artificial’ sound breaks suspension of belief. Significant percentages of stories are told with words re-told by professional liars. It production’s duty to capture your expensive artists’ best performances for the project to achieve deep believability. $: knowing in advance where the carts may live saves production money in time and chaos reduction. Relative to cart placement, much depends on architecture. This is something no one but an RF SME (subject matter expert) can do. That teeny, tiny apartment may require the teeny tiny recording kit that wants attention the day before. Another SME situation. I begin real estate negotiations with locations and set dressers. There are questions to be answered: It's helpful to plan where actors may be privately / comfortably wired on set. Clap my hands and plan for the reverberant space. Ingress/egress addressed. Helpful to observe the relationship between director and DP, how they communicate. Essential to see the sketching out of coverage. What will not be seen. Knowing the equipment grips and electrics plan to bring tells me a lot about our work and how sound may need to adapt and/or form an alliance. I remain hopeful, especially with this estimable crowd to fill in the blanks. What else say you?
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