We went from spectrum to frontier fiber and had similar results - faster and cheaper. Sounds like you made a good decision - for more than 1 or 2 reasons.

www.auditori.cat/en/esdevenim...

Ha! I remember the post supervisor wanting the "sounds of the city" to play a part in the show. So on season 1, we put out the M/S mic for stretches of NYC ambience. Sounds like you were inadvertently continuing the tradition on season 2.

Thank you! That was a fun - and challenging - show. I used to joke that we needed some daytime criminals so all the crimefighting wasn’t always at night.

Mentally, you have to remember what that boom will sound like before you get there and hope that when you meet your boom operator, it matches.

The fun challenge, even when we can make the majority of the scene work on the boom is when you have to transition from a different type of microphone like lavalieres to the boom.

It is still wide and tight but when it is the same headroom, it works. Sometimes we can invade parts of a frame to keep microphones at a better distance.

Sometimes the boom track is unusable due to wide and tight cameras. Sometimes the tight camera is on a person who is standing in a group of people who are sitting, while the wide camera films the entire group.

That’s the real trick or that’s what the money is for - we’re paid to make that decision on set as best we can. Part of that decision is making sure the sound works for all the camera perspectives involved.

And it’s a real testament to the relationship in that moment, sometimes unspoken, between the mixer and the boom operator.

But when the transition works, it’s really fun. It’s great to not have to base your mix on lavalieres only because the scene began that way and transitioning to the boom doesn’t match. It holds a bit of magic to the ears to think your boom operator has the range that you’re making it sound like.

It can be a little like losing the ground beneath you when you jump to the boom too early, pulling down lavalieres, only to find a boom signal that is too distant and not quite there. It can also be frustrating when you hold the lavs too long and create a phasing signal that disrupts the transition.

But that really challenge is in that transition. The mixer has to remember what the boom will sound like in that space and at the distance to the actors that it will be at. Then the handoff from the lavs mix to the boom operator has to be done without fighting or phasing.