On location in London…
The most interesting thing that happened this week was our foray into location audio; the “ninjas of the audio world”. For those not in the know, location audio is the recording of audio for television or film on set or, on location. And like any good ninja, location audio engineers or boom microphone operators need to be hidden at all times, out of the frame of the camera, and without even casting a shadow over the scene. The same principal goes with post-production engineering except the equivalent of being “seen” is when the audio doesn’t seem to fit with the visual. Our crews are currently working through a series of labs where we take on the roles of location recording, boom microphone operator, and post production editor.
This week also featured our electric guitar miking lab. Or should I say guitar amplifier miking lab? Anyway you slice it we were recording “gits” to a session. That said I am not giving it justice. Based on what we learned in Production class, we ran a session to the best of our ability. Choosing the right microphones, putting them in the right place, setting up foldback, and hitting play is still a gross simplification. Getting the best performance is emphasized because it is so important. After my personal experience of providing talent for other crews and then recording other students for my own, it is more than clear that there are so many vastly talented performers at this school with different skills sets. Some can give you 180% and others can write an interesting part. I would have to say the most challenging part of these sessions is communication.
Our most important, and most tedious live sound lab yet- the crimping of RJ-45 Ethernet cables. It seems only fitting that living in the digital age and live sound’s focus on connecters, that the twain would meet in a lab. I have no comment on the experience other than some of us swear loudly while using a crimper.
Until next time.