CAS Quarterly

Summer 2019

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C A S   Q U A R T E R L Y     S U M M E R 2 0 1 9   39 assistants and second assistants, right? Which we refer to as a boom op and a utility. This is correct? That's the correct American translation? TIM: That's right. And, actually, it was much like any other drama for all intents and purposes. We didn't need any extra team for that reason. However, there is a scene where our lead character, Stefan, has a fight with his counselor and tries to jump out of a window but then realizes he's on a film set. The camera pulls back and we realize yes, we're actually on a film set. So, we had an extra crew member in that take as the boom operator who was revealed. AS YOU WATCHED IT ALL AUTHORED TOGETHER, is there anything that you would've done differently or anything you'd take as a lesson to maybe do next time when you're challenged with something of this nature? TIM: The job is more or less the same— you know, ensuring those clean scene choice transitions and no overlapping dialogue at those key moments. But that's the case of any drama, really. On this drama, we had a bit more of a say if [for example], there was a problem like a plane going over, they would definitely go for a repeat take or wait for the plane before they went for it. So, yeah, apart from that, it's much the same as any other drama. I GUESS THAT'S TRUE BECAUSE IN PRODUCTION THERE IS NOISE FLOOR that is common. But if there's a car by or a plane by or something intermittent or particularly sporadic to the scene, even if faintly in the background, that is a tell that it's a different version of the scene. Having it in production would make that instance generally narratively unalterable. Keeping "continuity" must have been insane, right? TIM: Yeah. Yes, of course. And David [Slade] would say, you know, "If there's anything wrong, here, just fix it, have as much time as you like to do a fix." WELL, THAT'S A GOOD THING. I imagine a lot of our readers will be pleased to hear that maybe this genre will foster a little bit more patience for sound. TIM: The whole thing took much longer than anyone anticipated, I think, across the board. I think they recognized the importance of those transition moments. I'M WONDERING WHAT YOU GENTLEMEN THINK ABOUT THIS BEING a kind of generational stopgap between linear entertainment and VR, which is viewer-driven narrative. TIM: Yeah, it's great that Netflix is championing this. I'm a little surprised they haven't been put off by it because it turned into something that [is] bigger than everyone anticipated. But yeah, it'd be great to see this as something, you know, the way TV is changing and the way we watch TV is changing. Yeah, I'm looking forward to seeing how it all works out in the future. DOUG: It's a shareable thing as well, whereas VR, I guess, can be a bit isolating. You can sit with somebody at home and go, "What should we do here?" TIM: The gaming industry in this country, at least, is larger than the film industry. So maybe the two will merge at some point and we'll be able to integrate some of these narratives and shows. • Tim Barker with 1st assistant sound (boom op) Adrienne Taylor

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