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Sound mixer at work. A production sound mixer, location sound recordist, location sound engineer, or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound ...
The boom operator and production sound mixer can sometimes be combined into a job performed by one person on lower budget productions, usually when the crew number is to be kept minimal, or for documentaries or news collecting. The one-man unit is often known simply as a "sound recordist" or "sound man", and would perform all on set sound ...
Fostex B-16 recorder. From 1981, Fostex and TASCAM pioneered affordable multitrack recording equipment, with Fostex producing the A-2 and the A-4 reel-to-reel recorders; the A-8 was the first eight-track recorder that used affordable ¼ inch tape, becoming a popular choice in the freelance and home recording field.
A utility sound technician is a person to both the production sound mixer and the boom operator on a film or television set. Although sometimes the utility pulls cable and wrangles it for the boom operator, the position has evolved to far more than just a cableperson.
Simon Hayes is a British production sound mixer. [1] Hayes won an Academy Award for Best Sound at the 85th Academy Awards for his work on Les Misérables. [2] He won a BAFTA for Best Sound for the same film. [3]
to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed", or just "speed", when they are ready ...
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A sound report is a filmmaking term for a sheet of paper created by the sound mixer to record details of each file recorded during filming. [1] A sound report is arranged in a table format, where the rows represent each file recorded, which at the least would contain columns for noting down the scene, slate or shot and take number, and a wider column for remarks about the particular take's sound.