16 Hours HOURS
11/12 . 10 . 2014
LOCATION: LONDON / UNITED KINGDOM
TRICKS OF THE SOUND TRADE
About David Macmillan
David is one of the most important sound mixers in the world, David won 3 Oscars for his work on The Right Stuff, Apollo 13, and Speed. Some of his other film credits include Indiana Jones and the Temple of Doom, Flatliners, Point Break, The Firm, Natural Born Killers, Nixon, The 40 Year Old Virgin, Twilight, The Proposal, and many others. David has worked with, and done sound mixing for the best directors of our time, Steven Spielberg, Francis Ford Coppola, Sydney Pollack, Oliver Stone, Ron Howard, Tony Scott, Lawrence Kasdan, Alan Parker, Joel Schumacher, Kathryn Bigelow, Nora Ephron, and many others. Born in Northern Ireland, David emigrated to Canada with his family, where he apprenticed at The Canadian Broadcasting Corporation. Then, as fate would have it, he met Francis Ford Coppola while working on a documentary in San Francisco, and was hired to wire Coppola’s studio. David worked there for 3 years and Coppola facilitated David getting both his Green Card and his Union Card.
Film makers have always understood the power that Sound and Music have to enhance story telling. Silent films had no dialogue or sound effects, but used organists and occasionally live orchestras along with effects created by in theatre specialists to strengthen the emotional effect of the film. We will take an overview of how film has changed from silents to todays multi speaker systems like Dolby Atmos.
The road to recognition for film makers is in submitting their films to festivals and competitions etc. but the jury will immediately reject them if the sound is bad.
The purpose of this workshop is to understand the power of good sound, and the pocesses necessary to realize this. David will talk about his work, his recording philosophy, his methodology and show examples from his previous films. He will discuss how the film business has changed,the growing power of television and with the budgets being squeezed, how recording has to deal with a new set of factors, like multiple cameras with various lens sizes, the use of multi track recording and the limited shooting schedules with consequences for all departments.
Participants will look at different types of recorders, RF mikes and mixers available for location recording. The different boom mikes available and when to use them will also be a topic. Boom mikes always preferred, they should always be available and open on the set.
We will spend a few hours demonstrating how to wire actors, the methods used to hide transmitters and mikes, and how to work around noisy cloathing, skimpy women’s wear/or none, noisy atmosphere and the multi challenges we face in our efforts to get good usable sound.
He will stress the importance of acknowledging actors preparations for their roles and how important it is to anticipate sound problems and to have solutions thought out beforehand so one doesn’t have to fuss with actors and interrupt their focus.
We will see how dialogue, sound effects, musical score, songs and post sound mixing all come together to create 50% of the film experience.
Profile of Participant
The workshop designed for Directors, Sound Mixers, Sound Recordists, Boom Operators, Sound Editors, Film Students, or anyone interested in entering the Film Business on the area of Sound.
Duration: 2 days
Dates: 11-12 October 2014
Maximum number of participants: 25
By registering to the workshop you agree with FFL terms and Conditions