Issue link: https://digital.copcomm.com/i/1500728
Summer 2023 – LOCAL695.COM 31 During our first week, we realized the heartbeat of that actor was being picked up by the wire, and it was substantial enough that I was a little concerned. Luckily, a quick conversation with post let me know the heartbeat was removable. As on any show, we have to work within the confines of the shot to capture quality sound. This show definitely gave us some challenges in regards to nontraditional coverage and shot design. This meant we had to rely on good sounding wires, creative booming, and many, many plant mics. On several occasions, there wasn't even enough room to fit a boom pole to get the mic in the best spot, so Zach and Saif would resort to hand-holding the mics in the shock mounts, a move that was dubbed "the Brokaw." Zach also had what I assume was a very exciting day of being strapped into a harness so that he could boom from the roof of one of our house locations. One of the benefits of having a trainee on the team means that the trainees could gain useful booming practice, under the supervision of the Boom Op, when grabbing off-camera lines. Post is always happy to get as many off-camera lines as possible, and it can sometimes cover the scene in the same way wild lines would, while saving production time. It's also the perfect way to have a trainee work on skills that can only be acquired through physical practice, but in a less high- stakes environment like capturing on-camera sound. One of the Sound Department's worst challenges is always the dreaded "wide and tight" shot when multiple cameras are in play. Luckily, the option to either paint out the boom or simply do a plate shot for an upper third replacement has become not only more common, but also generally more well-received by cinematographers, directors, and producers. I had a conversation with our producers early on about whether we'd have the ability and budget to plan on painting out booms when it came to wide shots where getting a clean boom track was critical. They were very open and receptive. I always try and make that option the last resort, as I am aware of the potential costs each time we ask to break the frame, but there were a good number of moments on Dahmer where we absolutely needed permission to be in the shot, and luckily, we were given it. The interrogation/interview scene of Jeff by the two police officers was held in a room built on one of our stages—complete with two-way mirrors and windows. Because of the amount of dialog, and the emotional performances, the director wanted to cover the scene with multiple cameras, which of course, meant a wide two-shot, as well as singles. Breaking the frame allowed us to get the booms where we needed them, and still complete the scene as the director wanted. I've been working with my Utility Saif for more than a decade. On one of our earlier movies together, the Boom Operator gave Saif the nickname "The Gardener" because of his ability to hide a plant mic pretty much anywhere. This is a skill I find Saif Parkar booming from an unusual spot "Brokaw" mic POV