We’ve all been there. The script is perfect, the talent is A-list, but the location… is a sonic nightmare. Maybe it’s a buzzing conference room, a fluttery hotel room, or—in one of my most memorable sessions—a tiled locker room with live showers. You can’t always get to a professional studio. Timelines, talent availability, and creative […]
How to Record Studio-Quality Voiceovers in Less-Than-Ideal Locations Read More »
While not every project requires a dedicated boom operator or A2, many productions simply aren’t feasible without one—at least not without sacrificing significant quality and efficiency on set. It’s possible to run a one-person sound department, but as camera moves, talent blocking, and audio workflow become more complex, so does the need for a dedicated
Why should you budget for a boom operator? Read More »
An Open Letter from your Sound Departmentwritten by John Coffey, with help from Randy Thom, Jeff Wexler, Noah Timan, Mike Hall, John Garrett, Scott Smith, Rob Young, Mike Filosa, Wolf Seeberg,Darren Brisker, Charles Wilborn, Todd Russell, Brydon Baker, Larry Long, Glen Trew, Dave Schaaf, Charles Tomaras, Klay Anderson, Brian Shennan, Hans Hansen, David Marks, Bob Gravenor, Von Varga, Mark Steinbeck, Carl Cardin, Eric Toline, Joseph Cancila, Stu Fox, Peter Devlin, Matt Nicolay and many others. This letter is being written
Letter for the Sound Dept. Read More »
Simple ways to save sound and the production” If it’s got a fan, you got to make a plan… Hey Producers! Do you want to save money? Think about your sound, Sound is often where you spend the most in Post when things don’t pan out on set. Sound Saves everything Why putting Sound
“If it’s got a Fan you got to make a Plan!” Read More »