BROADCAST FOCUS
him well on TV dramas such as Mr Selfridge, Bert and Dickie, and The Accused (series 2) for which he was up for a sound BAFTA. When it comes to additional
audio, there is some creative collaboration, he says, but it’s often down to the sound crew. “The director may ask for specific
GRANT BRIDGEMAN Selected TV drama credits:Mr Selfridge, Bert and Dickie, The Accused Kit: Sound Devices, Sennheiser, Schoeps, Sanken, Lectrosonics
For BAFTA-nominated sound recordist Grant Bridgeman, there is one defining factor when it comes to location audio. “Primarily it is about getting
clean dialogue,” he says. “Trying to get other sounds can become a distraction. In my opinion it is far better to spend that time stopping a chair squeaking, quieting a door, or perfecting wireless reception.” It is a manifesto that has served
wildtracks,” says Bridgeman “But more often it is left to the sound recordist. We will try to get specific things on location that may be hard to replicate in post production such as period cars or atmospheres in characteristic locations. We try to get room tones to help with dialogue editing too but getting the actor’s dialogue is of primary importance.”
As far as kit is concerned,
Bridgeman is a Sound Devices man, using a 788T recorder with the CL8 fader panel and CL9 controller. His mic manufacturer of choice is Sennheiser with the MKH60 being used for exteriors and the MKH50 for interiors “purely because of their robust nature”.
A Schoeps CCM41 is also called
upon for interior scenes while a Sanken CUB-01 boundary layer mic is “one of the most invaluable microphones” for on-location work. His radio mics are from Lectrosonics. When it comes to being a great
recordist though, you need more than great kit. “Clearly you have to be focused
on the audio elements of every shot,” he suggests. “But often the bigger role is that of being a diplomat and negotiator. Working with the other departments is absolutely crucial: everyone from locations, through costume to the camera team. All of them can help you if you ask in the right way and at the right time.”
Does it matter to the sound crew
how many cameras there are? Absolutely, says Bridgeman. “Multiple camera shoots
completely change the way you work,” he stresses. ‘‘Two cameras on extremely different lenses – for example, a wide and a tight shot –
mean that it’s not possible to get the tight sound on a boom mic without compromising the wide shot. I always request that we don’t shoot wide and tight at the same time, but that we shoot similar frame sizes. That means we can get the same sound perspective for each image and hopefully get it on the boom mics.” Preparation can be key, he says, which is why it is important to be involved in recces, but his biggest piece of advice, aimed squarely at the next generation of sound recordists, is “don’t work for free”. “When starting out, you may feel that a lack of experience means that you can offer a production very little but this is rarely the case,” he says passionately. “Value your worth and all things you bring to the production. [Working for free] doesn’t just undercut more experienced recordists, you undercut yourself because in a few years time when people ask you to do it again, they will want you to do it again for free.”
www.audiomedia.com
April 2014 23
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