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/Neumann KMR 81 shotgun in Rycote Blimp
• Ambeo VR ambisonic microphone for VR environment capture
• (8) channels of Lectrosonics digital hybrid wireless total, with 7 lavaliere microphones available
• (8) Lectrosonics UM400a transmitters
• (6) Lectrosonics UCR411a receivers
• (2) Lectrosonics UCR 401 receivers for camera hops
• (1) Lectrsonic SR5P Dual receiver for mic/camera feed
• (6) DPA 4060 lavs
• (1) Sanken Cos11 lav
• (1) Countryman B6 lav
• (2) Audio Technica lavs
• MixPre-10t 10 channel field recorder and mixer with Timecode
• Sound Devices 664 12 track field recorder and mixer with Timecode
• (2) Mozegear Timecode sync boxes
• Timecode cables for Sony, Red, Arri, and Cannon Cameras
• Comtek IFB M169 transmitter with 7 PR169 recievers with headphones
• Ambient Smart Slate
• Boom cradle and C-stand for sit down interviews
