Issue link: http://digital.copcomm.com/i/1178376
C A S Q U A R T E R L Y F A L L 2 0 1 9 77 shore power isn't as available in certain locations. Expect to run off batteries for entire days at a time, depending on where you are! Where and what have you been working on since moving? Since I've been here the past three years, I've been very lucky to work in some amazing places in England and further abroad. I first started working on a historical drama that Glen Marullo was the main mixer on called The White Princess. It took me all around England and Spain to some amazing castles and grand houses. I then took over as 1st unit mixer near the end of the show as Glen moved on. (Thanks, Glen!) I worked on a comedy movie in London about men's synchronized swimming called Swimming With Men. That was fun! After that, I did the UK unit work for the latest Hellboy installment. I also spent about 10 months in the studio on Dark Crystal: Age of Resistance. That was an amazing experience! It was the most demanding and technical job of my career Who would have thought puppets would be so much work! After that, it was The Trial of Christine Keeler, which is a drama about the Profumo affair—a 1960s sex scandal that rocked the UK government with some Russian involvement. Then, this summer, I was working on Castle Rock Season 2 on the Morocco unit in Rabat. I also helped out on a few other shows more locally: His Dark Materials, Sanditon, and Agatha Raisin. I'm currently working on a quirky detective drama called Invisible in lovely Bath. Then it's onto a docudrama called Salisbury, about the Novichok poisonings last year to finish out the year. Thanks, Chris, it sounds like you're off and running, and doing great! All that in just three years! Now, about that pint?• b y C h r i s D u r f y C A S Two Countries Separated by a Common Language There are a load of terminology differences. Steve Tibbo and I talked about writing a UK to US sound for fi lm translation book. I've got Robert Sharman and Glen Marullo helping me with the bits on this one. Here are some examples: Turning over vs. roll sound End marker vs. tail sticks Sound van vs. sound trailer (Most sound mixers here self-drive a VW Transporter with all kit aboard.) Dumb slates vs. smart slates (Unless shooting for an American network, we just jam camera. Camera supplies the dumb slate.) Sound trolley vs. sound cart Consumables vs. expendables Molton vs. Duvetyne Wild walls vs. fl oating walls Two-hander, three-hander vs. two- person or three-person scene Sorry! vs. excuse/pardon me Recce (reconnoiter) vs. location scout Nervous (i.e., nervous recce) vs. idiot check "Did you do the nervous?" Stitch up sound is a polite way of saying we are going to shoot wide/tight Tea table vs. craft services (The tea table only gets snacks twice a day. First biscuits, then English sandwiches for the last half of the day.) And don't get me started about "biscuits"! ;-) KBS: Kick bollock scramble. Basically, means the fi nal push to get everything done near the end. DFI: Disregard former information. AKA: Ignore what I just said. GVs (general views) vs. b-roll PSC (portable single camera) vs. ENG crew UK frame rates 25 fps vs. US 23.97 for most TV. Film still at 24 fps. Grips only deal with camera. Grips still wear shorts ... always. Standby art director do set modifi cations. Chippy (carpenter) helps and also lays dance fl oor and wedges for dolly track. Electricians supply light and shape it with fl ags. Tape roll when skipping about the action, often for a wide shot to just shoot the beginning and end. UK slates progress numerically, indepen- dent of the scene number and progress with each camera move or lens change. The fi rst shot of the show is slated as "1." Crew show vs. marking rehearsal. (And EVERYONE attends, even in tiny cottages with no room and no reason for everyone to watch!) Finally, there is nothing more English than for someone standing still on a fi lm set to be bumped by someone else and then turning to them and saying, "Sorry"!