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off-camera dialogue in the Mix track


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I didn't pay to much attention to OC dialog when I first started mixing (primarily because we only had two tracks at the time), but like many others here, I've seen the craft evolve into something where it's not only possible, but desirable (more often than not) to have OC dialog in the main mix.  It's presents another challenge, but frankly, part of why I chose this profession is the challenges we face every day.

When production executives go out of their way to compliment me on my work, it's gratifying.  It makes me want to try that much harder to do the best job possible -- to provide the best production tracks possible.  If the Editors never have to touch my Iso's, I'm happy.

Granted, if the OC talent is standing right next to a Red, in August, in Arizona, and it's an intimate emotional scene where I know the reverse will get shot used in the final cut, I won't try so hard to mix in (essentially unusable) OC dialog, but by all means, get it whenever you're able -- it will only make your clients happier.



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Production has (typically) reject my request to post a clip from my last tv drama. It is for off camera dialogue, but I will describe it with plain English as much I can.


Two actors. Dolly shot. Director wanted after three lines to start the dolly for close up in one actor, but we will hear and the other actor. One shoot. No close up for the other actor. I was "cueing" - booming and the off camera actor (had two lines off camera). In this situation you really need off camera dialogue. One track - one boom. No reason for wireless.

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If it's easy enough to get via 2nd boom or wireless lav, and if there isn't significant noise at the off-camera position, I'll put the off-camera voice in the mono mix, for several reasons:


1) It gives post more options without having to resort to iso tracks.

2) If there are going to be overlaps, all of the overlapping voices might as well be in the mix.

3) That's why it's called the mix track.

4) Generally the village listens to the production mix while shooting, and most prefer hearing all of the scripted lines, if practicle.

3) The thought of leaving the off-camera voice out of the mix because it is available on its iso track isn't necessarily valid because if it is necessary resort to the off-camera iso track, it might as well be mixed with the on-camera iso track. Of course, this rationale needs to be flexible, depending on how many iso tracks we are talking about.


I'm afraid the Senator's auto-response could be correct here, but it would depend.



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JW & PP & mirror are correct about our job and theirs. We make our decisions on the day of production in a fluid and dynamic environment as we weigh so many factors that are not apparent in a given frame of picture. I find it remarkable how much we get right shot per shot over the course of any given show. If Post can do our jobs better, then they should. In the meantime I'll reserve the right to tell them how to do their jobs better.



Very well said, with a plus 11.   


Sometimes I think they bitch just to be heard... but the email chain kinda sucks, because it usually contains some that are clueless to ANYTHING related to sound.  


Had a minor incident in August - despite copious notes and metadata, they never looked at it to solve their "problem", which was non-existant.  The gentle but accurate beat down, supported by evidence - with the entire email chain "listening"- ended that, and I never heard from them ever again for the ensuing months... 



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An excellent interview from Audio Media for Simon Hayes in The Secret Service movie.

You can read his approach about off camera dialogue.


THANKS for digging this up... very interesting, especially reading of the long-term collaborations.

FWIW, I just listened to "Lock Stock" again (happened across it on Netflix streaming) over the weekend, nursing a cold.  

What a great soundtrack and a fun movie.    I was lucky to actually be in London when it came out,  and saw it around Chiswick.

I'm a big fan of Simon "Purple" Hayes !!



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