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Sit, stay, roll over! Good crew member.


MatthewFreedAudio
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I just saw this on the San Diego Craigslist page and had to share:

Call for Crew Members (SD County)

Date: 2011-12-14, 2:36PM PST

Reply to: gigs-h7mgr-2753451715@craigslist.org [Errors when replying to ads?]

A locally filmed indie feature is in need of extra crew members for Friday, all day if available. We would like help with sound, lighting, and all other technical aspects of shooting. We would like people with experience but will gladly accept those who are without. Requirements are to be obedient, punctual, servant minded, and responsible. Please inquire with this posting's title in subject line, any experience, your interest in film, where you would like to help, your name, and email. I am sorry to say that we cannot offer anything in return except meals and credit. I understand if this is not acceptable, but cannot do anything about it for this project. Thank you for time, Sarah Marie, First AD

  • Location: SD County
  • it's NOT ok to contact this poster with services or other commercial interests
  • Compensation: Meals, Credit

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Saw this one today. Pretty classic and great English.

"Hi,

We are looking for an experimented boom operator with equipment for our new short movie on 18th december (for 3 days).

We gonna shot it with a Canon 5D and i need a boom operator with shotguns and wireless lav mics to put on the actors and a recorder.

The casting is great, the story too, and we're planning to go to Cannes Festival competition, Venise, Berlin, New York and Los Angeles festival, and after, to be very viewed on internet,

So if you are passionated, available those days and have some good equipment, please send us ASAP your CV.

This is an independant short movie without production, so we don't have money, but we can offer 100$ per day for this work.

Just answer please if you re experimented, with equipment and available on 18th until 20th december.

Thanks"

http://mandy.com/1/jobs3.cfm?v=47094749&skill=crw&terr=uscs

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"Passionated"

I love the constant evolution of English.

On a related CL note, I feel obligated to share:

"Here is what we need:

2 cameramen ($150 a day each)

Sound Man - this is VERY important to us - ($100 a day)"

That importance pushed the rate above the $75 for hair and makeup.

There is a vague understanding among filmmakers that sound is often a problem area. Many new filmmakers think that base is properly covered by telling the potential mixer how important sound is to them. Then, there's no action to support that later (people can only do what they understand), but having said it they consider it properly covered.

When I've spoken to groups, I dispel this myth quickly. Some of the advice centers around relating to the sound team the same way they would picture:

Talking to picture: "Our location is the city landfill since we got great cooperation from the city at no expense. Keep in mind, you're not allowed on set until the other crafts are completely finished. You then have three minutes to light it while the rest of the crew hovers nearby impatiently expressing exasperation that you're taking so long. And, of course, I expect the shot to look like an expensive upscale apartment."

The audience always laughs. Then, I point out that is exactly the position most of them put sound in. I also point out that if they don't plan in pre-production how they're going to support getting great sound, it won't happen, no matter how good their intentions are or how helpful they try to be during production. My main point is if you want great sound, approach your sound department the same way you do camera. The same respect -- the same pre-production discussions -- the same location consideration, etc., etc.

It seldom happens fully but sometimes it helps them.

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Even so: " how helpful they try to be during production. " ends up as how helpful they planned to be during production. but ends up not being very helpful, and often even worse.

I keep telling class after class this same stuff, emphasizing how sound is a partner, a full partner, in telling the story. There is no percentage yo this partnership, which begins when one begins thinking about making the movie, and only ends when the movie is completely finished!

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I believe that quality of sound is why Hurt Locker won the Academy Award for best picture over Avatar because they were able to preserve all of the actor's original lines except maybe 2 or 3 in post production. Avatar was phenomenal and I thought it was going to win best picture, but Hurt Locker won over it.. And I think it was due in no small part to the amazing work of that production mixer and being able to preserve the actor's original performance on the set.

Imagine if Hurt Locker was fully ADRed in an air-conditioned studio in LA. It would be just another summer blockbuster action movie. But it wasn't - it was real because of the sound (the visual effects were great and all, but the sound played as big or bigger part in telling the story).

You can't recreate that 100+ degree bomb-suit's effect on the human voice - the fatigue, the breath, the exertion...

I give that as a prime example in how putting sound right up there at 50% of the experience is so important to a film's success, and why I cringe when I see people who have no freaking idea what it takes to pull off good set sound - it makes me so mad. Then, when I speak up and try to prepare and make some breathing room for myself on the set, I get smirks and bad looks and get talked down. I really wish I had you guys there with me to back me up! :)

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