Issue link: http://digital.copcomm.com/i/1314046
12 FA L L 2 0 2 0 I C A S Q U A R T E R L Y when actress Ellie Kemper was very pregnant and worried about wearing a mic pack because it might harm the baby. This was a delicate situation that required a creative solution. Without hesitation, Griffin decided to boom her except when camera angles made it absolutely impossible. And in exchange, she agreed to wear the lav for a couple of shots. "It turned out to be a win-win because the boom sounds better anyway!" Working on critically acclaimed shows and collaborating with talented writers, directors, and actors has afforded Griffin another rare skill in the industry— being able to listen AND hear at the same time. It's the job of a mixer to hear the dialogue in a scene and ensure the quality of the sound. But the best mixers also listen to the dialogue and understand what the scene is about. Griffin always makes it a point to read the late-night rewrites—so he can grasp the nuances or note subtle shifts in tone. He remembers approaching 30 Rock producer Robert Carlock after shooting a scene with an actor who had trouble with a line. Something was off, so Griffin suggested that the actor deliver one word in a different way. The joke landed perfectly. And afterward, both Carlock and the actor were very appreciative that Griffin not only heard the words, but listened to the dialogue. "It became a thing. If an actor stumbled over something, the writers would ask me if it played well. I realized I can have a role in the creative process beyond just capturing sound. For me, it makes a difference." " ACTORS WERE WIRED AND IT SOUNDED GREAT. AND THEN WHEN WE STARTED TO ROLL, EVERYTHING WENT HAYWIRE." – Griffin Richardson CAS on a particularly tough day on set. Grifn's sound cart while mixing City on a Hill in Boston.