Issue link: https://digital.copcomm.com/i/1257029
everything tight enough with both cameras, so we can get a good boom mic in on the performances. Even when I have a shot list in hand, I carefully watch the pairings of camera angles. I have had discussions before the shoot with the showrunner, producers, and DP about how we're going to cover the scenes. My main agenda is to make sure every performance is recorded with an excellent well-manipulated boom microphone in the hands of an expert boom operator. I often hear the same answer, "Of course we're going to cover everything," but they are rarely thinking that two cameras will be shooting separate coverage with different lens sizes. It's only on the day when I point it out, that they seem to understand my concern. As long as I know all coverage will be managed with boom-ability in mind, I can more reliably mix the tracks I want to deliver. Of course, this is such a big part of any production for the Sound Department when multiple cameras are at play. Once we know the order of coverage, we can make sure that all close-ups are boomed well. This negotiation needs to be handled discreetly and clearly. As long as I make my needs clear and point out the value in my concerns, I eventually get the microphones where I need them. After all, we are recording the performances that the producers have paid so much for. We didn't have to waste too much time discussing wide and tights because there was purpose in shot planning and blocking. Wide and tight did happen from time to time, but it was because those shots had no dialog, but action Mixer's view of the aftermath of a car meets airplane stunt from Season 1. Photo by Aaron Epstein sequences. Having Bill and Alec on set all the time allowed them to make the call whether a shot was about the dialog or not. I've been fortunate to work with incredible people on Barry. My crew for the pilot was Serge Popovic on Boom and Cristina Meyer as Second Boom. Season 1 was Chris Diamond and Corey Woods, and Season 2 was Jacques Pienaar and Corey Woods. Having folks with so much experience, quick wits, and enormously kind personalities makes my job truly enjoyable. I feel nothing is impossible and emboldens me to try things that go beyond simply recording great dialog. Basically, "trying stuff" different mic'ings than the traditional boom or wire. I love a good plant mic, it can be great for another fl avor for post to use. Options are so important when you're working in comedy because a different perspective or the unexpected in a scene might make it funnier. In comedy, there are sounds on the set that are critical to enhancing a joke or comedic moment. A lot of building block elements for setting up comedy are created in post, but the origins may reveal itself on the set. I like to see if we can get it in production. Serge, Chris, and Jacques are my eyes and ears on set, and they are great in recognizing opportunities and devising ways to get a good plant mic situated. I am always amazed at how good they are at planting. In Season 1, there was a scene where Fuches (Stephen Root) was in the hotel bathroom behind a closed door and the camera was in the bedroom looking over Barry. Boom