Here’s a look at another commercial that I completed this summer for Humanaut/Fancy Rhino. The spot is called “Dare To Chill” about the negative effects that parents can have on their kid’s sports.
This one was a lot of work, as it was shot all steadicam. That means I have to be my own boom op, following everyone around with thirty pounds of gear strapped to me. It makes for a long day.
That’s second AC Dillan Forsey prepping a shot
Location was the Baylor School soccer fields.
Steadicam op/DP Brett Mayfield
Here’s a link to a project that I worked on recently. The band is called Spinster… they’re three sisters with classical music training. One lives on the west coast, one in Chattanooga, and one in Costa Rica, so they don’t get to play very often. We recorded a series of three songs this summer, they’ll eventually be posted on YouTube
We set it up as a live multitrack recording with no overdubs, so it’s very much a live performance video. It’s also the first chance that I got to use the Polyribbon. I used it on lead vocalsfor two songs… very smooth. And just to change things up a bit, we tried it on the upright bass for one song, which gave a teriffic sound. No EQ was used on the Polyribbon signal.
Recorded on the Sound Devices 664. It was mixed using the Harrison Mixbus 32C using Universal’s EMT 140 plate reverb on the vocals. Instruments are pretty much dry. Noise reduction and mastering via Izotope RX Pro and Adobe Soundbooth.
Hopefully I can get them in the studio this summer for an album. Enjoy!
After several years of searching, I finally stumbled upon one of the first pro audio jobs I ever did. Below is an aircheck tape from WCBD, 1986. I started there around ’84, and it took awhile for me to move up to the audio chair. And after I survived the “practical joke*” by the commercial switchers, I managed to hold onto the position for several years.
*The way it worked at Channel 2 (most stations, probably) is we’d have an on-air switcher in Master Control… his job was to make sure all the commercials aired according to the schedule. A few minutes before the newscast, we would ask for “control,” where the Production Dept would get audio and video control of the signal, and the little red On Air light on the console would illuminate, and I’d punch the audio on the ADM audio console, and Tim Coghill (Director) would switch the video on a Grass Valley video switcher in the booth next door. They would take back control during the commercial breaks, then throw it to us just before we went on.
I remember having meeting with the news director where he would ask “Why is the audio bad?” I didn’t know what he was talking about. Then one night in the middle of the newscast, I happened to notice that the little red light wasn’t on. I said in the intercom, “I don’t have control… why don’t I have control?” and the little red light suddenly blinked on.
What was happening was that Chuck (Mikell) and the other switcher (Earl, I think) thought it would be funny to take audio control and screw around with the volume. I was brand new, and it was all I could do to keep up with the script, so I never thought to look at the on-air light. I think Chuck got a few days off, and the mysterious complaints from the news director stopped.
Chuck was a lot less curt towards me after that, and we became good friends after I went to a reggae show downtown one night. I think I went either by myself, or maybe with Kyle Meadows… but at any rate I was practically the only white person in the place. Chuck was there, and found it hilarious ( “Oh, SHIT… skinny white sound guy diggin’ de reggae…”) he nicknamed me “Rasta” from then on.
Sadly, Big Chuck Mikell died of a heart attack when he was only 49.
Here’s a trailer for a feature that I worked on last spring. I just filled in as a relief mixer on the second unit, but still, it’s a feature… in theaters now. It was a last-minute call… their main mixer woke up one morning with carpal tunnel so bad that he couldn’t move his arm! But after a night off, he was back to work. They called me for another scene, but I was scheduled for something else, unfortunately.
The location for the party scene- a house near Franklin TN
The Party Scene
Here’s a recent project that I worked on for Seftel/Smartypants Pictures. This was a one-day shoot with two crews, and included footage for two web spots. Location sound was provided by myself and Atlanta mixer Jay Ticer.
I recently completed a shoot for CBS Sunday Morning in and around Athens and Decatur, Alabama. This is where Brittany Howard and Zac Cockrell grew up, and formed The Alabama Shakes in 2009. They have a new album coming out in a few weeks, and CBS Sunday Morning did a segment on them that will air April 19th.
Bar scene interview
Chris Conder and I shot at a couple of locations- first at the bar where they did their first show, and where their single “Hold On” was first performed. Then over to Brittney’s Dad’s place, where spent a lot of time playing in the creek, and where her dog and pet pig roamed the nearby farms. Third location was bassist Zac Cockrell’s house for another quick interview. A few scenics at their school nearby, then it was time to transfer files and wrap for the day… a pretty good shoot overall.
At Brittnay’s Dad’s place
Their new album, “Sound And Color” goes on sale April 21, 2015.
DP Chris Conder, Point Of View Productions shooting on his Sony F800
I did a project awhile back for Fancy Rhino productions here in Chattanooga, TN. It’s a four-minute piece called “The Natural Effect.” The ad agency/copy was Humanaut, and it turned out to be quite funny.
I learned today that the piece has gotten over a million hits on YouTube, which I suppose qualifies as a “hit.” The agency folks were pleased. About the only downside is the amount of material that didn’t make it into the final piece… there were a lot of bits that were really funny that didn’t make it in. There are about six spots of varying length on youtube… enjoy!