Production Sound

When asked at the 131st AES convention how to get a good sounding mix on a movie, Skip Lievsay, sound supervisor on True Grit replied, "It all starts with good production sound." ADR has it's advantages, but high quality sound during filming is the most assured way to capture the performance happening in front of the camera. Great production sound is achieved by using high quality equipment, and good microphone placement. With five years experience as a boom operator and sound mixer for indie film, documentaries, corporate media, commercials, and web spots, Tom has earned the nickname "the sound ninja" by knowing the frame of the camera and putting microphones everywhere but on screen. Being a sound editor and mixer as well, Tom knows what can be edited, and what needs to be re-shot or dubbed in post.

Production Sound Package:

    •    Sennheiser 416 shotgun in Sennheiser blimp
    •    Neumann KM 150 in Rycote blimp
    •    (6) channels of Lectrosonics digital hybrid wireless total, with 7 lavaliere microphones available
    •    (1) Lectrosonics SMa block 21 transmitter
    •    (1) Lectrosonics SM block 21 transmitter
    •    (1) Lectrosonics UCR 411 block 21 receiver
    •    (2) Lectrosonics block 26 UM400a transmitters with (2) UCR 401 receivers
    •    (1) Lectrsonic SR5P Dual receiver and (2) UCR 401, block 21 camera hops with LMA transmitters,            covers 2 cameras
    •    (3) Sanken Cos11D lavs
    •    (1) Tram TR-50 lav
    •    (1) Countryman B6 lav
    •    (2) Audio Technica lavs
    •    Sound Devices 633 6 track field recorder and mixer with Timecode
    •    Sound Devices 664 12 track field recorder and mixer with Timecode
    •    IDX Battery system
    •    5 Pin lemo to 5 Pin Lemo, BNC, and TRS timecode jam cable
    •    Comtek IFB M169 transmitter with 7 PR169 recievers with headphones
    •    Boom cradle and C-stand for sit down interviews
    •    K-tek carbon fiber boom