Issue link: http://digital.copcomm.com/i/1279181
M OT I O N P I CTU R E S O U N D E D I TO R S I 19 dealing with a sharp transient—the sound of the impact as the axe strikes the log, and with the aid of a well-executed swing, the debris of the newly separated halves. With this sketch of our subject, we can venture forth and check off each of the elements of our sound editorial requirements, methodically making sure we have coverage for what our editor might need to use in the film. However, if you were able to examine the story at a deeper level, beyond the simple mechanics of the sonic fallout that occurs as a byproduct of the character's interaction with the physical world, you might make subtle changes to the way you record that could have a substantial impact on the emotionality of the scene. Say our wood-chopping character is an embittered father. He's struggling within the societal constraints that define his economic potential, and he sees his young son exhibiting the same youthful idealism that he blames for his own failure to succeed. In frustration, he cleaves the firewood in an attempt to internalize his fears, but they boil over, and he proceeds to use the chore as an instructional tool to shape his son into the man he thinks he should have been. Armed with the foreknowledge of our character's internal conflict, we, as field recordists, can imbue our recordings with narrative relevance and elevate the story. Field recordist extraordinaire ERIC POTTER, whose credits include: Edward Scissorhands (1990), Twister (1996), Master and Commander: The Far Side of the World (2003), and Ford v Ferrari (2019) states, "I think a lot of it comes down to perspective. It almost doesn't matter what the microphone is, but what … your mental attitude to what the scene is, and how the most prominent character in that scene might be hearing things. So, it's kind of like putting yourself in the right place, when something is happening." But what, precisely, are the means of tapping into the narrative potential of field recording? What specific methodologies come into play to ensure that the recordings that are made, especially given a constraining schedule or budget, have the most impact in the final product? "You've got the microphone and your perspective. You just kind of adjust and listen and move and change until you hear something that is emotional or dramatic and exciting. It's often not the first position you take when recording," says Eric. While experience can certainly streamline the recording process, still, you must start somewhere. The most important step you can The author, risking digits, recording elements for a paper tornado. The author attempts to record the harsh winter sun. Author chops wood. Artful subtext not in picture