'GNAW'

For the job I hired out 2x MKH 60s , 2x MKH 406s & 2x 17amp hour batteries. All other kit including DAT, mixer, cables, sound cart, panamic poles and Garwood radio monitoring was provided by myself.

Although I was hired in as the sound recordist I chose to operate the boom and brought along a fellow sound student from the AIB to operate the DAT. This afforded me a measure of authority on set which I used to get the boom in as close as possible.

We recorded the whole film using one or two booms on split tracks, we also recorded rehearsals, quiet roomtones in every location and occasionally asked for lines to be repeated as wildtracks. We used carpets to deaden footsteps and no ADR was needed.

When first questioned about the job the production wanted to record all sound straight to the HDV camera. I refused outright and only agreed to do the film if we would use DAT and a clapper board to sync, thankfully they agreed.

Jimmy Benton on the mixer. For all exterior scenes we used our MKH60s. For scenes inside a car we went handheld on a mkh406, I tried using a cotton glove to reduce handling noise. The 406 also came in handy when shooting in locations with a low ceilings and fast overlapping dialog. After 8 long days of shooting both Jimmy and I were exhausted.

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