Issue link: https://digital.copcomm.com/i/855802
27 nel of the transmitter and a pre-fade boom to the other. This allows the boom operator to listen to the boom feed pre- fade, while the Utility can monitor both the boom and any wires I may be using. It is a very useful tool for this type of shooting, allowing the boom op to concentrate solely on the boom regardless of what last-second wires may be used. The show takes place in Marfa, Texas, many of our exterior scenes had to be set in some pretty dusty desert-like envi- ronments which were pretty tough on the gear. Ted and I formulated ways to avoid all the mess and thus, a total re- design of the cart was born. The priority being able to close up everything and batten down the hatches! I also took the opportunity to increase my track count from the Sound De- vices 788T to the 688, which is working out nicely so far. Working with my brother, best friend and excellent Utility technician Ted, has been really tremendous. He is always look- ing one step ahead and preparing for it in advance, so we don't have to scramble to pull something off in the moment of a new creative decision. He gets a lot of praise from our cast for having so many tricks and solutions for wireless mic and pack placement. It's really nice to have someone on set to bounce ideas off of, help make technical decisions and as always, try to have a good laugh along the way. It has also become clear over the years that people seem to really like the fact we are broth- ers working together, it always elicits a good reaction. I also want to thank Mack Melson for mixing the Texas por- tion of the show and for everything sounding so good. Mack Melson: "I met Jill through the UPM from Tex- as. Happily, I was available. My first impression was that I thought they were all nuts. On prep day, we had a beat change meeting with the actors, Jill and all the Department Heads, and I wasn't sure what I had gotten myself into. It didn't take long before I was dancing along with them. What an amazing group, and I don't believe I've ever worked with a more positive and kind bunch of folks. Love 'em all! My Boom Operator was Patrick Wylie, Utility Audra Hughes, and they both fit in perfectly. Box, Box, Box, words you re- ally come to appreciate. The whole experience reminded me why I got into filming in the first place." Lastly, I would like to give a shout-out to our Post Depart- ment, Supervisor Wade Barnett, Re-recording Mixers Andy D'Addario and Gary Gegan. They have to piece it all togeth- er from what sometimes seems like sonic chaos and yet, it always turns out wonderfully by the time they are through. With the cast giving one hundred percent at all times, even when off camera, I always make the effort to capture ev- ery word and nuance of off-screen dialog. We don't need to worry so much about overlaps when all conversations are 'on mic.' Jill knows when they really want something clean and we often just pick up that moment. We all loved working with the cast and crew on this big fam- ily and we all Love Dick. Opposite page, left to right: Mixer Mack Melson in Marfa, Texas. (Photo: Patrick Wymore) Boom Operator Eddie Casares with his newborn son and wife. This page, left: Art students. (Photo: Jessica Brooks) Right: Kathryn Hahn. (Photo: Leann Mueller) Below: Mixer Sam Hamer, Utility Ted Hamer & Eddie Casares.