In article Cz7Ya.79691$uu5.8302@sccrnsc04,
Steve King wrote:
I'm talking about the *basics* of making a technically competent
recording. You're bringing production values into the equation.

From my perspective they can't be separated in the real world.

Of course they can. You could have *the* most boring programme ever shot
with the presenter purely in mid shot up against blacks which is
technically competent. And you could have a stunning multi million dollar
stunt ruined by an exposure mistake on the camera(s).

You can make a technically competent piece in your back room, and have
a disaster shot in foreign climes regardless of budget.

Perhaps you don't see the sort of footage where the pictures are
reasonable but the sound near unintelligible?

You're right. Not on my shoots, save for the time I had to shoot on the
ramp of the Minneapolis, MN airport with an idling 747 in the BG, a
requirement of the shot, and departures overhead every minute in order
to get a 40 second clip of an on-camera presenter. It became my
introduction to ADR ;-)

Well, that's where you need a lip ribbon - a BBC design of mic that will
work pretty well anywhere. Doesn't look good in shot, but it'll make the
point about where you're shooting. ;-)

I'm sure that we are on the same page with this. Sound is important.
Good sound often requires professionally selected equipment and
experienced operators, no less than picture. What I don't get is why
sound mixers the world over are so bloody sensitive, seem to feel as if
they are the only ones asked to make compromises. There must be good
reasons, because so many of you have the same knee-jerk reactions. But,
the conditions and treatment so often alluded to by mixers don't happen
on my jobs, nor was I aware of such treatment or conditions on
theatrical, episodic, or industrial shoots over a 25 year career as a
fairly busy on camera actor, who liked to hang out with the sound guys
because of experience early in my career working in sound studios as a
music and production mixer along with some location sound for film.

I'm finding cameramen and lighting directors getting just as sensitive
when the suits decide a researcher with a DV cam can do just as well. Oh -
and directors when being replaced by yet another line producer straight
out of junior school.

--
*On the other hand, you have different fingers.

Dave Plowman London SW 12
RIP Acorn