Location Sound techniques The sound Team The basic production sound team on a small-scale film project usually consists of two people, the sound mixer (a.k.a. the sound recordist) and the boom operator. Occasionally, on shoots with very simple location audio requirements, you'll see one person perform- ing both roles, but when gathering sync sound, like dialogue, is part of the production, two people are highly recommended. On bigger shoots with complex sync audio needs, there is a third person called the cable wrangler, who sets up equipment, holds a sec- ond boom when necessary, and wrangles the cable when the boom operator follows a moving shot. The sound personnel are a tight team, and they should be chosen with the same diligence as choosing the D.P., A.C., and gaffer. The sound mixer is the head of the sound department and is responsible for getting the best quality audio onto the record- ing format. This not only means setting the record levels on the sound recorder but also includes understanding the acoustics and ambient qualities of a given location, listen- ing for unwanted noise intrusions on the set, and choosing the most appropriate micro- phones for the situation. The sound mixer works very closely with the boom operator in strategizing optimal microphone placement. The boom operator is responsible for placing the microphone where it needs to be, whether that means holding it aloft over a scene, hiding it under an actor's collar, planting in somewhere on the set, or any combination of these. The boom operator must know the pickup patterns and capabilities of a variety of microphones and how they function in different acoustic environments (Figure 16-1). As I have mentioned before, getting good location sound is as important to a film as getting great images, but all too often novices think about audio only at the last minute and choose the sound team either from people on the set who don't look busy or from people with utterly no experience but who are "willing to do anything" to be on a film set. But getting good quality audio in the field can make the difference between a smooth postproduction process and a nasty, expensive one. To ensure the success of your shoot and your editing, it is important to choose a competent and knowledgeable sound crew who will dedicate themselves exclusively to the task of getting great sound. Good recording technique and postproduction mixing are more important now than ever before. The digital revolution has made great quality sound recording and reproduction technology within everyone's reach-- even to the point where many homes are equipped with super-high-fidelity surround sound home movie systems. So filmmakers no longer can expect that their final products will be heard through a built-in, three- inch, mono speaker on the family TV set. Nor can low- budget filmmakers expect to show their work only as a 16mm film print with its accompanying poor-quality optical track. These days you really need great sound, because in almost every screening venue, it shows! Three factors play a major role in getting the best audio in the field: recording technique, microphone technique, and simply using your ears. 16 Chapter Figure 16-1 The sound crew for Chu's The Treasure Hunter (2009): sound mixer (right), boom op (center), and cable wrangler (left). The importance of getting the best possible sound quality rests on their shoulders, even in hostile environments, like the windswept sands of Inner Mongolia. (Photo courtesy of 3H sound studio.) 351