Quote:
Originally Posted by mini jack  Hi guys/girls,
Landed a job for a group of ppl who are not too pro on sound issues and have hired me to record, edit and mix a new sitcom series they will start to shoot in a week. |
I ask only this: After you record show#1 and begin your sound edit, and before your show#1 goes to the mix, what will you do when they start to shoot show#2? Will you stop your edit/mix on show#1 and return to the stage to record show#2, then bounce back to the show#1 edit/mix while they ask for show#2 sound edit to review?
What if all goes well and they do a show#3 on spec or otherwise? What if show#3 begins to shoot and show#1 is in the final mix stage, and show#2 is in the sound edit stage. What about deliverables for show#1 while your are in edit/mix for show#2 and trying to record for show#3? What about dealing with the picture department, juggling omf's/aaf's and drive management?
What about producers changes on any show you are currently not dealing with but now have to deal with?
What will happen when show #1, 2, 3, are in various states of post production and show#4 rears it's inevitable head?
Where will "your head be without a chicken" as my fractured phrase goes?
Maybe it's just me but I am not even thinking in term of "gear", "plugins", "computers" "workarounds", 'mic pre's", "booms, "lavs" "live audience" etc. I am thinking of things such as a "schedule", "crew of post sound professionals", a "budget", a "post production supervisor", an ADR stage, a foley stage, a sfx library, a re-recording stage.
What about music and all that entails!!??
You better give thought to how many man days/hours of editorial and mix you can allocate to each half hour of program. You better give thought to editorial equipment packages. You better find a post-production studio....your bedroom is not big enough
I am sorry but a "have laptop will travel" attitude will not go very far in what you are getting into.