Issue link: https://digital.copcomm.com/i/1500728
Music Recording and Pro Tools Playback on Movies and TV There's been an increasing demand for recording live music on movies and TV, and I happen to get a lot of those calls lately. Here's how I handle them: I ask for a tech rider, which gives me all the info like track lists, instruments, IEM requirements, mic choices, etc. I contact props and set dec, who are most likely already in touch with the stage and equipment companies, to determine who's supplying the backline, stage tech, etc. A lot of the time, those companies will also provide additional workforce such as FOH mixers, A2's, System Techs, etc. I always advocate getting additional A2 labor through Local 695 if we're short on hands. I also like to have Pro Tools playback and band recording as two separate people if possible and the situation calls for it, although sometimes it has to be one. I have modular rigs that can accommodate both workflows via AES50 and Dante interchangeably. The flexibility of those interfaces gives me lots of options in various situations, and the Midas ecosystem is excellent for accommodating demanding and ever-changing workflows. I still use the good old Sound Devices 970 for large track counts, the Midas M32R & M32C mixers, and DL16 & DL32 stage boxes. Moving forward toward the shoot, I always ask for a rehearsal/pre-record day, if we can. It's really nice when we can focus on recording with the artist on a click track, dial in IEM's, and get a few clean takes without the hassle of "getting this next shot before lunch." I worked on Yellowstone S5 for a minute, where there was a frequent need for live-music recordings throughout the season. I put the bat signal out to production about needing to connect with the backline company, and they hooked me up with Alex Bruce from Montana Pro Audio, who was an absolute champion about it. He and his team built the stage and got the instruments, and we combined our mic collections to facilitate the needs of recording for all the bands. I had to revise my system after the first round, as we were spread out on a ranch with a thumper for four hundred cowboys, and the band was in a tent with about five cameras floating around the premises. I returned with a smaller rig to do it all quickly and lightly. The coolest part is the mixer being able to jump between Midas and Pro Tools control at the push of a button, which proved extremely handy when recording thirty-two isos to play back on a dime against a thump with immediate turnover. I had a previous commitment, so my friend Nick Ronzio stepped in and finished the season on my rig. All went smoothly. A perfect reminder that simplicity, even with great technology, is sometimes the best choice. Live Broadcast Mixing for Justin Bieber's Virtual Concert with Unreal Engine for WAVE I was hired to create a sound ecosystem for live broadcast motion-capture virtual concerts using Unreal Engine and various DAW's. This is how we did it: The problem we faced was a live concert in real-time with Justin Bieber in a motion- and face-capture suit driving an avatar in Unreal Engine. This was broadcast to millions of viewers. The