Issue link: https://digital.copcomm.com/i/1474752
40 PRODUCTION SOUND & VIDEO – Fall 2022 octane company moves were some of the challenges. Sunny began in 2005 and had established a system of shooting with three pro- sumer HD cameras, so I came in really determined to record every microphone on its own track. Along with two (sometimes three) booms, every actor/speaking part got a radio mic. That continued all the way to Season 14, until I segued over to NCIS in 2018. In early 2018, Steve Bowerman who had been the Sound Mixer on NCIS since 2004, decided he was going to retire at the end of that season and asked if I was interested in taking over for him. I told him it would be an honor to continue with his team of Boom Operator Mike Reardon and Utility/Boom Jeffrey Hefner. I had been there enough times as a day player and on other shows to understand that production on an hour episodic can sometimes dominate your life. It's a constant flow of breaking down a script, execution of that script and schedule, receiving the next script, and repeating that process. I knew however, it was a very good show to work on; extremely experienced producers, writers and directors, and a very efficient crew. The show is an investigative procedural, so we don't get many elaborate audio requests. That gives my team and I time to work the booms in and dial in wires. These days, I'm recording onto a Sound Devices Scorpio with Lectrosonics and Shure wireless. The Sennheiser MKH 50's are my choice for interiors. I like its warmth and the low-end punch you can get with close-ups. When we're outside, we'll use the Schoeps CMIT. Our current batch of lavaliers we use are the Sanken Cos- 11's and DPA 4000 and 6000 series. With the amount of dialog that is written for a show like this, it can really wear out your ears, but