Issue link: http://digital.copcomm.com/i/1257029
L-R: Sound Mixer Ben Patrick, Boom Operator Jacques Pienaar, Utility/Second Boom Corey Woods on location in Big Bear, CA. Photo by Aaron Epstein Operator Chris Diamond put a plant on the bathroom mirror to mic Fuches because all he was wearing was a towel. This gave the mic perspective with more air, and the feel of the small bathroom, like we would hear Fuches from Barry's perspective. Cristina and Corey, both great boom operators in their own right, were good at wiring which allowed me to use lavs more often. My philosophy is that the wires are always my plan B, and to only use them when I absolutely had to. When they are placed so well, they became a viable option because great technicians make opportunities. Their experience over the years of placing microphones on and in wardrobe of all kinds is priceless. It is a skill that really germinates in "trying stuff." There is no "one failproof way" to put radio mics on actors, and techniques grow from experience. In the final episode of Season 2, acting class character Natalie (D'Arcy Carden) was stage managing the class's "truth" in a theatrical showcase tech rehearsal. She was given a questionably functioning mini-PA from props, the satchel type mic system worn over the shoulder. It sounded terrible and barely amplified her voice enough to even be useful in reality. Throughout the entire scene, she was talking through this PA system traversing the theater in the background. Boom Operator Corey Woods ended up wiring her wardrobe, as well as wiring a Sanken COS-11 to the side of the PA speaker so as to not blow out the lavalier with too much level plus giving it air. It played perfectly in the scene and added a funny energy to cut against the heartfelt dialog scene Barry and Sally (Sarah Goldberg) were having in the seats. Corey took the time to try a few locations to plant before deciding on the area next to the speaker. The people I work with are critically important to me, and I like to think I set a tone and expectations as a team to make it happen. My crew comes with their own experience and criteria for excellent sound and as a group, we all establish a standard. It is so easy to get complacent when you are up against lots of naysayers who find it easier to say no than to Barry (Bill Hader) and NoHo Hank (Anthony Carrigan). Photo by Peter Iovine try and comprehend the Sound Department's needs. Let's face it, we ask odd questions sometimes. But, together, the sound team can stay vigilant and keep a calm perspective in order to professionally handle the challenges. It's the people surrounding me in the team that comes with years of experience that make the impossible possible. When one of us starts to weaken or relent to the pressures of the set, the rest of us remind each other to stick to our standards. The trick to negotiating the naysayers is great communication and careful listening, yes, listening. You must have an idea of what the other person is trying to achieve and how your request works with or against their goal. Most of the time when I am clear with the other person's agenda, I can answer my own question. For example, it could be the director trying to get a particular performance, the DP trying to get a certain look, the dolly grip trying a move across a squeaky floor, or the costumer who is responsible for the blazer looking perfect. We all have a job to do, and part of our craft is to make our needs clear, and consider other's needs in respect to our own. My sound kit for Barry, Season 2, was comprised of a Zaxcom Deva 16 as the primary recorder, controlled by a Zaxcom Mix 12, with a Zaxcom Nomad 12 as the backup recorder. Boom mics are Schoeps CMIT-5U's and Sennheiser MKH-50's on K-Tek boom poles. My wireless Barry with his acting coach (Henry Winkler). Photo by Aaron Epstein