There you are: relaxing in that nice, ergonomically correct chair that’s perfectly situated front and center of your console, completely protected from the harsh conditions of the world outside. When you stop and think about technical field crews—those poor camera guys and recordists who have to bear the cold, the wind, the stormy seas of demanding location shoots—you’ve got to feel bad for them.
Then you fire up your system and check out the raw audio you’ll have to mix, and without leaving your seat, you’ve been thrust right along side of them—into the inhospitable realities of the field and the sounds that accompany it. But the truth is, it works out pretty well for you, considering that audio in need of help equals clients in your studio. On the other hand, there are some fixes that seem to require a little more than even your miraculous powers can handle.
What’s a sound designer/mixer to do? This month, we highlight the strategies and tricks that two veteran audio post engineers use to survive.