#sound operator

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Today's office.

[thattntheatrekid]

RENT by Jonathan Larsen - Kingsport Theatre Guild - Sept. 2022

[larryland]

The Two of Us Productions Seeks Sound Operator for "Peter Pan"

The Two of Us Productions Seeks Sound Operator for “Peter Pan”

The Two Of Us Productions is looking for a sound operator for their Fall 2017 production of PETER PAN. This will be a full-orchestra production featuring flying of PETER and the 3 CHILDREN! We have a full wireless system available, and are working in a well-equipped performing arts center in central Columbia County New York. 6 performances are scheduled: *         October 6th, 7th, & 8th, 2017 * …

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[adamgriffithsfilmmaker-blog]

Please excuse the awful face that I pull in the second photo, but here’s some great photos from another student’s shoot, set mainly within a hotel room but also with brief shots near the Albert Dock. Worked with Adam Taylor again for this one alongside Dylan Butler, who was director for this shoot, as well as Ian Smith who had runner duties. 

I was mainly sound operator for this shoot, but got a chance to briefly meet Jack Rothwell, a very professional actor from Starnow who was one of two main characters in this film as well as Callum Green (pictured in the suit) who is also a fellow student who took on an acting role rather than production, due to limited time to gather actors, a similar problem that I’ve encountered on other shoots. Hopefully, both gave a great and believable performance that will surely look good once finished.

[sebastiangunshow]

Soundguy | CineStill800T

[theworldbehindmyeyesdoc-blog]

Top Three Tips for Sound Operators.

Sound Operation seems to be the one thing that most indie Filmmakers get wrong. Whether it be Filming an action piece which has the neighbour’s dog barking or Filming a documentary which has traffic in the background. I think we can all agree that bad Audio is an unforgivable sin.

I myself can ALMOST forgive an awful camera shot. However, I cannot forgive bad audio. Why? I heard you ask? Well, bad audio stops the message of the Film from being delivered to the audience. So I have brought some useful tips that I have learned while working on projects.

Use Your Ears and Drop the “We’ll Fix It in Post” Attitude.

Although this might sound obvious, you would be surprised with the amount of Directors and Producers who think about Sound last. I also tend to find that most “Indie Filmmakers” tend to leave things to be fixed in post-production. Directors also tend not to listen to their environment when doing location recces. I have a basic rule of thumb when doing a Location Recce. If you can hear it, then the microphone can pick it up. Granted the noise might be reduced, if you are using a directional microphone, it is still annoying to hear: Cars, Animals, and planes as a viewer.

Use Belt and Braces.

Belt and Braces is an approach to sound that I sometimes use for Interviews and Documentaries. I basically have two microphones (a shotgun microphone and a La Pelle/Radio Microphone) which feed into two different audio channels. I do this because it is always good to have a backup microphone, in case one of them malfunctions during a shoot.

Use a Microphone Stand or Boom Rest.

Sometimes holding boom pole can put a strain on your arms and cause them to shake, which in turn effects the audio. Sometimes I find it easier to use a Microphone stand for Interviews and Documentary Films. However, if you are working on a drama. I would highly recommend getting a Boom Rest attachment (which requires a second Boom pole.) This will then reduce the amount of handling noise or feedback you get from the microphone.

 I hope you guys found this post useful!!!   Do you guys have any tips? Let us know in the Comments Below.

[sisterkristenoh]

Intermission ended 4 minutes ago where are my sound operators I AM GONNA FIGHT SOMEBODY

[callumolearytv]

Further Research: Sound Operation in a live environment

My interest insound operating really is growing, so I took a look at how it works on The Graham Norton Show. Really interesting to see what Graham Stuart's saying here and finding out about the inner workings of the show.

Executive producer Graham Stuart, who works on the Graham Norton show, recommends that everybody on set should be aware of how sound works in a studio environment. This is essential for a sound operator because it makes the job easier. In future, I plan to use more directorial skills with sound alongside the director to build a better experience in the studio, rather than controlling the sound by myself. This would include discussing things like audiences clapping, and audience participation. 

He also discusses setting up a range of microphones for studio production, calling it "extremely complex", and creating a balance between how an audience reacts is "critical" to the success of a show. In my experiences so far, I have worked with much smaller audiences of around 15-30, using a single boom microphone in the process but remain appreciative of capturing an audience's reaction to content. In hindsight, I would have suggested this to the Director, but as the Eldon Hub television studio is open facing rather than closed off, it is more challenging to create better audio as there are often loud sounds coming from the cafe behind it. 

Graham's made some really interesting points, here's the full link:

http://www.bbc.co.uk/academy/production/article/art20130702112135340