Location sound recording & production mixing

The recording is half the job. The other half is reading the room — knowing when to move a mic and when to leave it, when to speak up on set and when to stay out of the way, and what the edit is going to need three months from now. That judgement is what fifteen years buys you, and it is the part that doesn’t show up on an equipment list.

What a shoot day looks like

Multitrack recording with Zaxcom wireless, radio mics and boom, IFB to the director and crew, and timecode running to every camera so the edit lines up without anyone having to think about it. Isolated tracks plus a mix, delivered the way post wants them. If the schedule changes at 6am, the rig changes with it.

Formats

• Documentary and factual — single camera, long days, unpredictable locations. The bulk of the work, and where the ASSG award came from.
• Drama — boom and radios, second-unit and multi-camera blocks, working to a sound department or running it.
• Reality and ENG — fast turnarounds, multiple radio channels, no second takes.
• Commercials and corporate — controlled setups where the client is standing behind the monitor and the audio has to be right first time.

Difficult locations are the normal ones

Aircraft, boats, mine sites, the Pilbara and the Goldfields. Wind, engine noise, heat, dust and no mains power are the conditions most WA factual work actually happens in, and the kit is chosen and maintained for exactly that. Every battery is under 100Wh, so the whole package flies as carry-on.

Browse the full sound package, see it on location, or read how the aerial side works alongside it.

Planning a shoot in Western Australia? Send your dates and location and you’ll get availability and a clear quote, usually within one business day.