Henchman Posted June 9, 2013 Report Share Posted June 9, 2013 At least they weren't to big to admit they we wrong. Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted June 9, 2013 Report Share Posted June 9, 2013 Rado, let us know how the gig goes! Jeff, finish your story! :-) We just did the job the way we always do, with the equipment that I always use, and they were very pleased with the results. There was, of course, one serious mis-match: the stuff we did in those 2 weeks was the best sound in the movie and didn't really match all the other scenes. Quote Link to comment Share on other sites More sharing options...
David Waelder Posted June 9, 2013 Report Share Posted June 9, 2013 I confess to being a bit uncomfortable with this discussion of producers who are insistent on recording the shot in a particular way while ignoring good advice from the professional sound person. My thinking is more in alignment with John Blankenship. In his post, he suggested that it was possible that the producer - knew just what they'd get under the conditions, what might be used and what wouldn't be, how it would be mixed into the final program, where music would hide sonic sins, etc. Much of the other discussion has assumed that the producer was ignorant, dumb, cheap or had unrealistic expectations and was foolish to not follow the advice or a pro sound person. Sometimes that's the case. And, it's good to hear that, on hearing the recorded results with the GoPro, the producer changed his mind and approved the expenditure for Rado's gear. It's always best if the expense bump comes after verification that plan one really wasn't functional. But I think we should be careful about the assumption that the producer just didn't know any better. Suppose that the producer had just come from two days of filming a race at Watkins Glen or Lime Rock. He plans to use about five seconds of cockpit footage of the Ferraris and has two hours of racing material to draw upon for engine noise and gear change effects. The purpose of the GoPro audio might be just to identify what sounds are needed from his ample supply of efx. In that case, it might not be worth $100 or even $50 to get perfectly synced and recorded cockpit audio. In general, it's dangerous to assume that the producer doesn't know what he wants or needs. Sometimes that's so but best not to jump to that conclusion until the incompetence is demonstrated. David Quote Link to comment Share on other sites More sharing options...
VASI Posted June 9, 2013 Report Share Posted June 9, 2013 After the first run they checked the gopro audio and it was horrible. Engine noise. They approved my rental and I got the job done. all is good when it ends good You get a learn; you give a learn. Quote Link to comment Share on other sites More sharing options...
stevegrider Posted June 9, 2013 Report Share Posted June 9, 2013 A long, long time ago, when I wore a producer's hat, I always thought it best to hire professionals, consult with them about the job, and then get out of their way. That approach always yielded the best results. Quote Link to comment Share on other sites More sharing options...
old school Posted June 9, 2013 Report Share Posted June 9, 2013 The point is, Rado already knows how to do this job properly, has the proper equipment to do the job and provide the producer with the tracks they want. I hate it when a producer or director says they want it stay "consistent" even though it may be perpetuating something from past experience that doesn't work! I even had this happen on a big feature film where I was called in for 3 weeks of re-shoots. They were very insistent on me coming into the editing room to look at the movie, to view some of the scenes we would be re-shooting (or adding to), and I was very pleased to do that. After viewing the movie, the director and post supervisor wanted a list of the equipment I would be using, the microphones, recorder, etc., because they said they were very worried that I wouldn't be able to match exactly what the production sound mixer had done before me. Just to be agreeable I did sort of tell them some of the stuff I would be using and one of them said something like "I don't think 'Joe' used that microphone Jeff says he will be using". I then asked them if they had been pleased with the production sound recording on the movie so far and they said no, it has been awful and we've had to ADR lots of the scenes already. The obvious question then from me was "what are we matching?", "are you asking me to match the miserable sound you already have in the movie?". JW @ JW, that conversation sounds like dialog out of Joseph Heller's "Catch 22". What a world. CrewC Quote Link to comment Share on other sites More sharing options...
MatthewFreedAudio Posted June 9, 2013 Report Share Posted June 9, 2013 Rado, which Ferrari were you working with? The reason I ask is because the show I've been working on frequently shoots with different Ferrari's and I've always had room under the bonnet for a 788 with 7 wireless, hops, and IFB. Unfortunately, this gear is owned by the production company and I would much prefer they rent all my Zaxcom from me but, it can be and has been done with SD and Lectro gear quite successfully. But, perhaps you were dealing with a very different Ferrari than I've dealt with on my show. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com Quote Link to comment Share on other sites More sharing options...
Henchman Posted June 10, 2013 Report Share Posted June 10, 2013 I think this was a perfect example where keeping calm, and going prepared ended up working out. And that s IMO aways the best gameplay. All we can do is advise, without looking difficult. It's up to the people who hire us, to decide if they want to rely on our expertise. We just did the job the way we always do, with the equipment that I always use, and they were very pleased with the results. There was, of course, one serious mis-match: the stuff we did in those 2 weeks was the best sound in the movie and didn't really match all the other scenes. Good. I hoped they learned their lesson, and really investigated future hirees. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted June 10, 2013 Author Report Share Posted June 10, 2013 Matthew , The car was FERRARI F430 GT RACE CAR. There is no space anywhere in the car... There is a computer that monitors everything... There are so many parts inside. This is not a street legal car. It is a racing machine... Rado, which Ferrari were you working with? The reason I ask is because the show I've been working on frequently shoots with different Ferrari's and I've always had room under the bonnet for a 788 with 7 wireless, hops, and IFB. Unfortunately, this gear is owned by the production company and I would much prefer they rent all my Zaxcom from me but, it can be and has been done with SD and Lectro gear quite successfully. But, perhaps you were dealing with a very different Ferrari than I've dealt with on my show. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted June 10, 2013 Report Share Posted June 10, 2013 Quote Link to comment Share on other sites More sharing options...
MatthewFreedAudio Posted June 10, 2013 Report Share Posted June 10, 2013 What was in the front end between the front wheels? I'm trying to find a good picture of that car. Normally there is a U-shaped compartment under the bonnet (hood) in a Ferrari that is about 18 inches deep and about 25 inches long. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted June 10, 2013 Report Share Posted June 10, 2013 Everyone knows the theory of how to pull focus but no producer in their right minds would ever hire someone to pull focus who only theoreticaly knows how to do it. since using this line of argument i have had a lot more success in getting an experienced boom operator to work with. I would argue that the boom op's job is often harder than the focus puller's job. Both absolutely critical to getting the shot done. Quote Link to comment Share on other sites More sharing options...
RadoStefanov Posted June 10, 2013 Author Report Share Posted June 10, 2013 This is the actual car... What was in the front end between the front wheels? I'm trying to find a good picture of that car. Normally there is a U-shaped compartment under the bonnet (hood) in a Ferrari that is about 18 inches deep and about 25 inches long. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com Quote Link to comment Share on other sites More sharing options...
mikewest Posted June 10, 2013 Report Share Posted June 10, 2013 Great stuff Rado I've turned down big jobs when they don't want me to have a boom op "no budget" I walked off a German job because the director had no idea about sound and it was only sound fx!!!! mike Quote Link to comment Share on other sites More sharing options...
RPSharman Posted June 10, 2013 Report Share Posted June 10, 2013 In general, it's dangerous to assume that the producer doesn't know what he wants or needs. Sometimes that's so but best not to jump to that conclusion until the incompetence is demonstrated. David +1 Quote Link to comment Share on other sites More sharing options...
studiomprd Posted June 11, 2013 Report Share Posted June 11, 2013 Lots of good discussion here, in fact great discussion. from the first post there was only "B" (which worked out rather well) and JB made an excellent point too, which could have been the case, even if it was not... " a producer or director says they want it stay "consistent" " consistent with what... this "argument" is often kind of meaningless... Quote Link to comment Share on other sites More sharing options...
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