DC, MD & VA (& East Coast surrounding states) * 310.895.3464 cell * marianna.lafollette2010@gmail.com
About Audio M2i - Location Sound Recordist
Do you want to learn about Location Sound work?
I can teach you basic setups and show you the typical production gear used in the business. Even if you have low-end equi[pment, the setups are the same for your to get good sound with the equipment you have (part of the mantra, "it's always the skill behind the gear, that makes or breaks the shot").
Whether you are interested in being a sound recordist, or you are camera person who wants to improve your interaction with sound, or a producer or production manager (or an intern who's tasked to inquire about sound services for a project), learning more about a sound recordist skills and the gear will help you know what to ask for (the skills and gear) and why. (such as, what is a "wireless" and why is it necessary?).
I can help you learn the basics and improve your Location Sound knowledge so you can better work towards getting the necessary sound person and gear for your project. Please see below for descriptions of what I can do to help you out.
Learning Basic Location Sound set ups for Video/Film work
Methods to work alongside a camera (static setups and run-n-gun)
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
With a focus of a hands-on approach, I can help you learn basic techniques that will help you efficiently setup your sound rig (the recorder and wireless receivers, lavs, etc, in a bag) alongside your camera partner, when doing all kinds of locations (inside or outside) or if a static vs. run-n-gun setup...
such as,
- whether the setup, is in a comfy conference event room with a panel discussion
- a hotel room for a sit-down interview,
- an outside setup doing verite, day-in-the-life documentary coverage during
- crowded rallies & marches,
- a working business such as a restaurant
- or a family's home with a home improvement project
- and many, many types of setups and locations--although the same techniques can be used over and over again, nor matter what and where you are shooting...
It's easier than you think, once you know better the techniques and accessories involved ("tricks of the trade"), including, how to wrangle those mic cables that can trip up the shot as your camera op (or multi-cameras) goes running off to follow one (or 5!) fast-moving subject(s).
The key is being organized and knowing the basics., whilst also knowing the pros and cons and the why's or no-can-dos.
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
Static interviews are easy to set up and do, and run-gun-gun setups adds a bit more complications. And, you're not alone about the sound requirements--theirs a whole production crew that's also part of the team and part of the moving "cogs" tto end up hat together works to create the final project.
The sound department is one part of the whole, so to speak. How does sound work with the rest of the team that comprises of the camera department, grip & gaffer, PAs, Hair & Makeup, and the producer and clients? To make sure that the sound setup flows smoothly, my teachings will help you understand the following, for ex.:
- Do you know how to wrap audio cables properly (yes, there's a certain way to do it so that at the next shoot, when unrolling a cable, you don't get knots, the bane of cables!)?
- How do you make sure that the interview subject's eyes don't flick to you while you're sitting at your sound table (the camera will pick up the eye movement and hence, the viewing public in the finished video piece)?
- What are the common "protocols" when working with the crew and their own set up needs? (such as, never ever touch or move someone else's gear without talking to them first and getting their ok!)
- What is the "slang" commonly used (so others will know that you are have experience working video/film business--such as, say "sticks" instead of "tripod")
- and much more...
More to come - Easy to hard setups
Static, easy sound setups (1 to 5 subjects & 1-3 multiple cameras)
More to come - Easy to hard setups
How to make hard setups actually easy.
More descriptions to come...
How to Hide a Mic...
Good boom pole and booming techniques
More to come - Easy to hard setups
How fo you connect a lav mic to get good sound while also making sure that that it looks nice (maybe unseen) for the camera and audience (inc., no hanging cable, nor an impression of a hidden mic that a camera can see)? Whether the mic is placed on the outside a shirt (for news work) or hidden under clothing (documentary, et al), you will learn some techniques and accessories that could help you "up your game" and be more successful for your video and film project by ensuring no-to-less clothing rustle and a good voice level capture (no base-y-ness, nor muffling).
Good boom pole and booming techniques
Good boom pole and booming techniques
Good boom pole and booming techniques
KTek "Klassic" boom pole (9 foot): If you want to do well, get the best gear in the business! on the other hand, you will learn the pros and cons for using certain gear, whether low-end or high-end gear... Basically, "know your gear" to get the most out of it--i.e., f you know techniques of mic palcementt, then you can make a lower-end sound item work for you. h
There are good techniques for getting good sound while using older equipment that still works well (and costs less on the secondary, used marketplace)--an approach that will help those of you with more limited budgets that is typical for independent film work and people who are just starting out in the Production World (inc. adults of all ages with "Passion" projects and young students still high school and college).
Typical setups and the unexpected
Good boom pole and booming techniques
Good boom pole and booming techniques
Do what you got to do, to get that good sound and make the client happy--no matter the location's quirks...
My past experience of all kinds of locations will help students understand how the production world can be very taxing regarding equipment loads, work setups and potentially long days--daytime, night, summer days or cold winter--but knowing what you might come across will help you better plan for your project...while understanding all of your crew needs in order to ensure that their comfort will help with completing your project well and successfully.
(especially, "a well fed crew is a happy crew").
Contact me anytime to talk about what you want to learn and set up any kind of learning session!
How can I help you learn better what the sound department needs from you, to make your project the best! (after all, 75% of video and film work is actually sound," as the saying goes with experienced production professionals).
Elevate Your Knowledge about Location Sound (Sound Mixer)
Please check out this "Open Letter from your Sound Department" that was "written by audio professionals to help directors and producers understand how good sound can be recorded on the set. We want to help you make the best film possible":
http://www.filmsound.org/production-sound/openletter.htm
This letter perfectly describes my hands-on approach that I can give you with my Location Sound consulting that I am offering here to those who want to learn basic Location Sound (Sound Mixer) techniques and the gear involved, in order to improve your project's sound capture or your sound crew's skills (whether you are a producer, DP, film student, and other crew members--and including if someone actually does want to be a Location Sound Recordist, aka, Sound Mixer!)
I look forward to hearing from you about your interest in the work that I do and how I can pass on my decades of skills and experience to you, whether a burgeoning film student, a new production filmmaker, or an already-working professional who wants to better understand the on-site sound department (I aim to help improve all types of filmmakers, at any skill level, and any age!).
