LO2: Create audio material for film makers through professional collaboration.
As I wasn’t the primary location recordist, I will only quickly summarise key contributions to the three days worth of recordings, picking up on specific examples of my own individual contribution.
Due to the fact that a lot of the kit was missing, a lot of the first day wasted in terms of actual recording, with me and Ed going constantly back in forth in an attempt to get all of the camera equipment and overall, we were mainly utilised as runners due to the fact we just wanted to be useful (as all our kit was up and running). There was then a further setback through a power cut within the area and the producer resigning from her position the day before. This meant that the next two days were going to be very full on with little room for error.
We ensured that throughout the next few days we stayed clear and only discussed issues with the director when absolutely necessary due to the fact that he had to also deal with actors and other crew members. This also meant taking a lot of incentive in terms of positioning for shots, discussing positioning directly with the cinematographer. This would be further validated with director saying to us that he appreciated us showing a lot of incentive within certain situations and not just waiting upon his command.
Another main contribution within this stage from me was the recording of various wild tracks before the actors arrived. This was done so that I had plenty of room space to play around with when it came to the post production stage. This falls under Jay Rose’s text in which he discusses the importance of recording as much as you can on set so that you have the option to layer it in. Stating that it is beneficial to have too much sound recordings than too little.
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