Issue link: http://digital.copcomm.com/i/1179544
to a foot away from the wall for maximum effectiveness). Also, you will have scoped out places to hide close-in plant mikes (remember that mounting them on a large hard surface eliminates any sound refl ections from it—the Boundary-Layer Technique). And you will have short cardioid and super/hyper- cardioid mikes for low ceilings if they are present (remember that interference-tube shotgun mikes are not a good choice for reverberant spaces). 3. Excessive shoe or prop noises. Some directors, particularly older ones, understand the real reason for quieting these sounds: the regular cadence of heel clicks will be disrupted by intercutting between angles and takes, and they need to be replaced with uniformly- spaced Foley. The timing of noisy prop action may not match exactly from wide shot to close-up. Explaining all this takes time, and often exceeds the director's attention span. This is another example of something you take care of ahead of time, without bothering the director. Should they ask, just give them the shortest, simplest, believable answer—whether it is accurate, or even remotely true, is irrelevant. 4. There are esthetic considerations that are beyond the pay grade of some directors. Here is a chance for the production mixer to make a signifi cant contribution to the picture, but often in spite of, rather than because of, the director. However, this should never be done to the detriment of the integrity of the project, as can occur if the production mixer's artistic judgment is faulty. To protect against ©2019 Warner Bros. Entertainment inc.