Throughout my career I have had the privilege of participating in numerous narrative projects, encompassing various formats such as feature films, short films, web series, and more. I’ve had the privilege of immersing myself in a vast array of compelling and remarkable stories, including a deeply moving love affair set against the backdrop of World War I (FALLEN), a thought-provoking exploration of classism and misogyny (SHIT) and a farcical war raged against our avian friends in the Australian outback (THE EMU WAR). I’m excited to discover what the future holds for each new project that comes my way.
Recording for narrative projects is all about encouraging a sense of collaboration and creativity among the production team. The success of the project, both technically and creatively, relies on the unified efforts, shared vision, and dedication of everyone involved. As a recordist, it can be easy to separate yourself from other departments and shy away from potential challenges. But I believe it is as important to my role as it is to the overall project to strive for adaptability, push the boundaries of technical expertise and problem solve creatively to ensure the project succeeds. In doing so, we can ensure the project flourishes and reaches its full potential.
Many people perceive Sound Recording solely as a technical skill. However, I personally believe that this couldn't be further from the truth. As a recordist, you have the unique opportunity to wield your tools and actively shape the aural outcome of the film. From capturing the nuances of the actors' tonality to crafting the spatial and perspective elements, it’s all about the choices in microphone selection and placement that directly impact the audience's experience.
In 2018 I was the sound recordist on a WW1 Short Film titled Fallen (dir. Grace Griffith). The film switches between intense trench warfare scenes and poignant flashbacks to the tranquil & romantically charged atmosphere of home. To emphasise the stark difference between the two experiences the character has, I chose to use completely different microphones, wireless, ambient techniques and recorders in each location. In the romantic sequences I made use of the luscious Aaton Cantar X-1 preamps and the tonally-responsive pickup of the Schoeps CMC641 cardioid microphone. Whereas for the trench sequences I used a much flatter preamp from the Sound Devices 788T, and a cold, lifeless directionality from the Sennheiser 416 and 816 microphones.
Depending on the format (TV, Feature, Shorts, etc) and scale of the production I have slightly different rates and structures for billing. Contact me for a rate card specific to your production.
For narrative projects, I recommend being open to additional equipment hires. Depending on your story or scene, the best option may not be simpliest or cheapest one. It's a great practice to consider that to get the best out of the recording of the performances, a lav for each character and a boom may not be enough. I always recommend at least hiring an additional boom microphone and an additional lav at minimun to ensure that alternative options are available in difficult situations. Have a look at my equipment page to see whats available.
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