13 November 2007

Audio Gangster

Filmsound Daily! has just posted an interview with William Sarokin, talking about his experience mixing production sound for American Gangster. Snip:

FSD: We all know that getting in early is important for any film craft. In sound, if you're lucky you get hired before location scouting commences. How often have you been involved in that process? Why doesn't this happen more often?

WS: I'm never hired before the location scouting begins. I usually have 4-5 days prep on most films while the location manager starts months before production begins. My prep consists of 2-3 days of tech scouting, a day for the production meeting and a day for the equipment load in so often the best I can do is damage control. Often the UPM will call me weeks in advance if there is a question about a location they want to use but are concerned about sound issues, but that is pretty rare.

And why is this so rare? I mean, yes, I know it's all about the budget, but it seems penny-wise and pound-foolish, since having your mixer on the location scout can save you time (ie money) up front by offering solutions to sound issues before you even get to set (I've ranted about this previously).

But I have to say, as a relative newbie, I feel a bit better hearing that even seasoned pro's still run into problems with things like limited wireless range and multi-camera scene coverage. This lets me know that I'm at least on the right track, and not to give myself an ulcer about it.

In theory. :)



rizzo said...

I read this article of film sound daily! and found it very informative. Keep up the good posts.

syncsound said...

Thanks for reading, Rob.