Posted by Steve King on 11/02/06 15:20

"Ty Ford" <tyreeford@comcast.net> wrote in message
news:MbWdna-7dIqzYdTYnZ2dnUVZ_tqdnZ2d@comcast.com...
> On Thu, 2 Nov 2006 05:18:09 -0500, carlmart wrote
> (in article <1162462688.919334.114260@h54g2000cwb.googlegroups.com>):
>
>> Having another person in the team has seemed to be the major reason for
>> people not doing double system. For me a soundman is essential if you
>> want complete control of your audio, but that was not what I found on
>> many forums I have been in.
>>
>> I wonder how many people coming to this forum uses a soundman.
>
> Actually, that would be very interesting to know.
>
> Regards,
>
> Ty Ford

For me, about a third of the time: whenever I have more than one 'actor'
speaking in a scene; whenever I've decided that I want to have most of the
show boomed; whenever sound difficulties are anticipated by location surveys
(high ambient noise, intermittant objectionable sounds, etc.), whenever
wardrobe eliminates the possibility of conventional mic placements, &
whenever the pace or difficulty of the shoot will occupy my time competely,
leaving no time to check audio myself. To put it another way: I don't hire
a sound mixer when: the scenes are typical stand-ups from one presenter in
shots that I can easily boom myself; for interviews in no-problem locations,
where a boom on a c-stand is the choice; where a single talent will be
mic'ed with a lav. Regarding who makes these choices, director or producer,
both need to participate in the decision. The choice affects budget, but it
also affects the director's range of shot choices. Fortunately for me, I am
both producer and director on most of my shoots, so I just tell me what I
want.

Steve King

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