Can I talk my director into getting more coverage?

I am helping a director make his movie. He only made one short film before, and it was mostly in all mastershots, with no coverage. I agreed to help him out and it's a free project for everyone, and I believe in helping others who are in my boat as well.

However, when I went to the last meeting, a group of older people wearing nicer than usual attire, were there. Apparently he rounded up an actor who has been on TV, locally, and he rounded up some people from Vancouver he knows, who got real invested in his script, to produce it as a TV movie. I can see why, the script is ambitious and better than run of the mill for sure, which is what attracted me originally.

However, I do not want the same thing to happen as the last time I recorded sound for someone's project. It was the one I posted on here before. Basically I was told on here, to have gotten more coverage, and that the sound from the mastershots, wasn't good enough cause I couldn't get it all, especially since I was booming for four people, all spread out, for a lot of it. But since I was not the director, I had no control over that of course. The director got other shots, but decided in the end to just use masters, and use all the tracks from the masters, without mixing any of my better captured audio from the close up shots.

Since this new director likes to use just master shots it seems, I do not want to be in the same disadvantage, especially when people who have TV connections are involved now. A couple of years ago, I recorded sound for a TV pilot, since I owed the guy for helping out on my project. I was in over my head, and was just doing it as a favor, but surprisingly, that episode was considered good enough by the network and they aired the pilot. Didn't pick up but they considered it good enough quality to air.

I would like make the same impression and record good enough sound to impress them, especially since they would make good connections to have in the future. I would like to work with them again, since they are from Vancouver, and have connections and want to end up on their goodlist, but since the director seems to so far like masters only, from his one short so far, I would like to influence him to get more coverage shots if possible.

Even if it's not his artistic style as a director, it's still good to have coverage, especially audio coverage, from different takes, if you plan on using the video master. I don't want him to just use audio from master shots only, and that's it, like the last project. So is their a way I cam approach this with him, to work the audio to both our advantage? So far he likes doing his own thing, and hasn't had a lot of input to my suggestions. I only told him that he should get more coverage to cover our asses, audio wise, but he just kind of nods and moves on. I don't want to tell him how to do his job, I am just trying to help create a better project, for all of us. Of course just because he did his one short like that so far, does not mean that he will do the same thing for this one necessarily. I am just asking for input, and what people think. Thanks!
 
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Stop doubting everybody else's decisions when they aren't what you would do.*

The only thing you can suggest is to get close ups to get closer with the microphone, just in case.
But it needs to fit in the schedule.
Don't bring it up during shooting, but in advance.
Don't bring like: "I hope you're not going to..."
Ask how the shots/blocking will be. If it's only wide totals, suggest to get close ups as well.

Don't go in like a stubborn I-know-best, because you don't know best.

*) Which would be procrastinate and make 5 second tests :P
 
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What is/was your role on this project? If you're the 'director of photography' then yes you can and should have a say, a pretty large say in fact, in what kind/amount of coverage there is..
 
So is their a way I cam approach this with him, to work the audio to both our advantage?

You are always thinking wrong. If they're going only for masters, then you need to adjust to that. Do the best job you can do with what you have. If you suspect that the audio may not be good enough, pull the director aside, let him know, let him listen and most importantly LET HIM MAKE THE DECISION. You can make suggestions on how you'd be able to get better audio, but the most important thing is to work with the rest of the team, not against them.

You are there to do your job to the best of your ability.
 
We've been over this, dude.

It's YOUR JOB to let the director and/or the 1st AD know what kind of sound they are going to get IN ADVANCE of the shoot. They have let you know how they intend to shoot. You have to let them know that A) just booming will sound like crap, B) how much it will cost to rent lavs, multitrack mixer/recorder, etc., C) let them know that dialog wilds can make a difference, and D, IF THEY SPECIFICALLY ASK YOU ABOUT OTHER OPTIONS, then you can volunteer more coverage.

As Randy Thom told me, tell unreasonable clients/collaborators

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"I'm a genius, not a miracle worker!"
Or, as Commander Scott from Star Trek would say

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Or maybe Mr. Spock

Spock.gif

“Logic and practical information do not seem to apply here.”

It may have been by accident, but production sound is your job - so take responsibility and give them an honest appraisal of the situation.
 
Okay thanks, I will let them know that just booming will sound like crap, and they will have to rent lavs since I don't have any. However, this makes close up shots more important cause I don't think the director is going to want to get a lav for each actor, depending on if there is any left to rent available, or if he will have to purchase them.

I will try to get him the best sound I can on master shots only. I know it's his style, and it's a good style. But I always feel it's good to get some individual close up shots as back up, just in case, even if you don't plan on using them unless you have to.
 
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