how do I handle audio ignorant producer?

Nick Flowers · October 3rd, 2008, 08:18 AM

I was once working with a director who became impatient with waiting for aircraft during quite an important interview. Eventually she said that we would shoot anyway and was not persuaded by my argument. I agreed to carry on but asked the cameraman to turn over and point at me, standing next to the director. I explained to camera what the situation was and asked to director to confirm her decision on camera. She backed down and we continued to wait for aircraft. A brutal tactic, but I had to protect myself. Didn't work with her again: but that didn't upset me too much.

Gary Nattrass · October 3rd, 2008, 06:16 PM

From a post point of view it is a lot easier to handle planes within interviews, digital editing means that a slow tail out can let all sorts of aircraft pass over head by adding a suitable track.

Now 18th century drama is another problem but pride and pred from the beeb had several planes passing.

William Hohauser · October 3rd, 2008, 10:12 PM

Many years ago I was on the set of a film being produced by a crew from a country where the films are usually made MOS. Countries that make most of their movie money by exporting frequently film this way. This was their first attempt at an English language production and they didn't want to pay the actors for ADR as that would have meant airfares as the film was being posted in their home country or paying United States rates to do it here. These guys were so nervous that nobody could talk for a quarter of a mile outside a house where the dialogue was being recorded indoors with closed doors. At least they got clean audio.

One thing that lots of independent producers miss is that they have to account for the audio feasibility of scenes in their scripts. Usually producers are aware of visuals but they forget the sound. I no longer will direct multi-camera live music shoots unless the producer is hiring an audio professional to record and mix. If the sound is bad no one will see the work and I feel like I've wasted somebody's money.

Nick Flowers · October 4th, 2008, 01:39 AM

In the reverse mode of William's post above, I was once on the English sound crew of a film being shot in Rome with a mainly Italian crew. At the time, Italy's films were mostly shot MOS and even in the studio (Safa Palatino Studio - in the centre of Rome, just above the Collosseum: one of life's GOOD locations!) sound discipline was relaxed to the point of cacophony. However, the influence of my boss, Peter Handford, was powerful enough to ensure that a very steep learning curve was introduced. We also learned Italian things: "Turn over" is "Motore", "Running" is "Partito", or if you are from Naples, "Partooto"! Happy days.

My boss's influence was exercised to the full on a picture with Katherine Hepburn when she declined to wear radio mics. The boom op reported his unsuccessful attempt to rig her and Peter sucked thoughtfully on his pipe and ambled over to Miss H's caravan. 10 minutes later he came out and told the boom op to go in and rig her.

"How did you do it?" I asked. He explained that he had agreed with her that radio mics were horrible to wear sometimes, and sometimes horrible to listen to. "But" he continued, "when I explained that as she would be the only member of the cast not having one, she would be Post Synching more than the others." That convinced her, as she knew that performances are so much better with the location sound.

A good point, but it took Peter's calm authority to make it stick with a major Hollywood star.

Dan Brockett · October 4th, 2008, 08:05 AM

Quote:

Originally Posted by Nick Flowers

In the reverse mode of William's post above, I was once on the English sound crew of a film being shot in Rome with a mainly Italian crew. At the time, Italy's films were mostly shot MOS and even in the studio (Safa Palatino Studio - in the centre of Rome, just above the Collosseum: one of life's GOOD locations!) sound discipline was relaxed to the point of cacophony. However, the influence of my boss, Peter Handford, was powerful enough to ensure that a very steep learning curve was introduced. We also learned Italian things: "Turn over" is "Motore", "Running" is "Partito", or if you are from Naples, "Partooto"! Happy days.

My boss's influence was exercised to the full on a picture with Katherine Hepburn when she declined to wear radio mics. The boom op reported his unsuccessful attempt to rig her and Peter sucked thoughtfully on his pipe and ambled over to Miss H's caravan. 10 minutes later he came out and told the boom op to go in and rig her.

"How did you do it?" I asked. He explained that he had agreed with her that radio mics were horrible to wear sometimes, and sometimes horrible to listen to. "But" he continued, "when I explained that as she would be the only member of the cast not having one, she would be Post Synching more than the others." That convinced her, as she knew that performances are so much better with the location sound.

A good point, but it took Peter's calm authority to make it stick with a major Hollywood star.

I am working on a doc about The African Queen right now, great Kate story. Miss Hepburn was nothing if not pragmatic.

Best,

Dan

Nick Flowers · October 10th, 2008, 02:02 AM

Hey Dan,
I sent an email to you with info about African Queen (I had a trip in her). Did it get through?

October 3rd, 2008, 08:18 AM	#16
Nick Flowers Regular Crew Join Date: Jul 2008 Location: Chichester UK Posts: 167	Another possible option I was once working with a director who became impatient with waiting for aircraft during quite an important interview. Eventually she said that we would shoot anyway and was not persuaded by my argument. I agreed to carry on but asked the cameraman to turn over and point at me, standing next to the director. I explained to camera what the situation was and asked to director to confirm her decision on camera. She backed down and we continued to wait for aircraft. A brutal tactic, but I had to protect myself. Didn't work with her again: but that didn't upset me too much.

October 3rd, 2008, 06:16 PM	#17
Gary Nattrass Trustee Join Date: Apr 2008 Location: Cornsay Durham UK Posts: 1,992	From a post point of view it is a lot easier to handle planes within interviews, digital editing means that a slow tail out can let all sorts of aircraft pass over head by adding a suitable track. Now 18th century drama is another problem but pride and pred from the beeb had several planes passing. __________________ Over 15 minutes in Broadcast Film and TV production: http://www.imdb.com/name/nm1044352/

October 3rd, 2008, 10:12 PM	#18
William Hohauser Inner Circle Join Date: Dec 2005 Location: New York City Posts: 2,650	Many years ago I was on the set of a film being produced by a crew from a country where the films are usually made MOS. Countries that make most of their movie money by exporting frequently film this way. This was their first attempt at an English language production and they didn't want to pay the actors for ADR as that would have meant airfares as the film was being posted in their home country or paying United States rates to do it here. These guys were so nervous that nobody could talk for a quarter of a mile outside a house where the dialogue was being recorded indoors with closed doors. At least they got clean audio. One thing that lots of independent producers miss is that they have to account for the audio feasibility of scenes in their scripts. Usually producers are aware of visuals but they forget the sound. I no longer will direct multi-camera live music shoots unless the producer is hiring an audio professional to record and mix. If the sound is bad no one will see the work and I feel like I've wasted somebody's money. __________________ William Hohauser - New York City Producer/Edit/Camera/Animation

October 4th, 2008, 01:39 AM	#19
Nick Flowers Regular Crew Join Date: Jul 2008 Location: Chichester UK Posts: 167	When in Rome In the reverse mode of William's post above, I was once on the English sound crew of a film being shot in Rome with a mainly Italian crew. At the time, Italy's films were mostly shot MOS and even in the studio (Safa Palatino Studio - in the centre of Rome, just above the Collosseum: one of life's GOOD locations!) sound discipline was relaxed to the point of cacophony. However, the influence of my boss, Peter Handford, was powerful enough to ensure that a very steep learning curve was introduced. We also learned Italian things: "Turn over" is "Motore", "Running" is "Partito", or if you are from Naples, "Partooto"! Happy days. My boss's influence was exercised to the full on a picture with Katherine Hepburn when she declined to wear radio mics. The boom op reported his unsuccessful attempt to rig her and Peter sucked thoughtfully on his pipe and ambled over to Miss H's caravan. 10 minutes later he came out and told the boom op to go in and rig her. "How did you do it?" I asked. He explained that he had agreed with her that radio mics were horrible to wear sometimes, and sometimes horrible to listen to. "But" he continued, "when I explained that as she would be the only member of the cast not having one, she would be Post Synching more than the others." That convinced her, as she knew that performances are so much better with the location sound. A good point, but it took Peter's calm authority to make it stick with a major Hollywood star.

October 10th, 2008, 02:02 AM	#21
Nick Flowers Regular Crew Join Date: Jul 2008 Location: Chichester UK Posts: 167	African Queen Hey Dan, I sent an email to you with info about African Queen (I had a trip in her). Did it get through?