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Glenn E. Berkovitz. Great work on The Saint Pilot


Henchman

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Hey, my soundie brothers and sisters -- talking about me while my headphones are unplugged ? Compliments in broad daylight ? All I can say (with both of my Ns) is THANK YOU for the attention and the very kind words.

This remake/pilot episode of 'The Saint' was a pleasure to work on, based on the director, actors and crew - and a challenge to record sound for, based on the locations and slim support resources (low budget, doncha' know). I must say that my crew, John Hays and Daniel Quintana, busted their butts to stay ahead of the juggernaut of our schedule and locations, and we enjoyed great support from our director, Simon West.

I'm truly flattered to the point of blushing - thanks so much for the shout-out, Mark - and thanks to all you other kind word-givers (many Oscar congrats to you, Simon). I'm really proud to be a part of our community --

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Let me not be the last or least to say congrats to Glenn and his crew. I think it's great to have a shout out and feedback from a post mixer like Mark. I find it a bit ironic that Glenn thanks Simon West for his help. He is or was a nice guy when I worked with him when he was 1st starting out,  but he was all about the visual and not so much concerned about sound. Glad he has learned the value of our craft. Keep up the good work.

CrewC

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Just so you know what Glenn was up against. We are talking a fast paced, almost non-stop action, 42 minute pilot. With racing cars, crashing helicopters, fights, noisy machine rooms, noisy street scenes, and Downtown noisy rooftop scenes. You name it. It's in there.

We had two days to mix it. And it ended up soundings great. And there's no way it could have sounded as good without the tracks I had to work with. And really, the only ADR was pretty much for add lines, line changes or change in performance. Very very little ADR was needed for technical reasons.

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Thank you again for the compliments, Mark (I'm in full blush as a result). Most important to note imo is that MY CREW - John Hays and Daniel Quintana - and I really tried to be vigilant and 'defend the sound' at all times. Our relationship with Simon, the director, was quite important - I could ask him, and trust his answers, regarding which part of each camera's setup carried the story-telling audio. (Without Simon's accurate guidance, we might have produced less stellar sound - our DoP was often less-than-collaborative.)

Many thanks again for this lavish attention - my crew and I are proud of our work, and we do appreciate the chance to share. Cheers !

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