Like many of his colleagues in the sound production industry, Scott Harber began his audio career as a musician, more specifically as a member of a San Diego punk rock band. Over the course of his nearly 30-year career, Harber has worked on leading TV and film productions, including Borat, Noctunal Animals, Get Smart, Hell’s Kitchen, Gangster Squad, Wilfred and Castle, to name a few. He also owns Dang Me Sound, a production sound company based in Los Angeles. I recently spoke with Harber about some of the highlights his long career and the challenges of production sound.
Production sound mixer Ben Nimkin has worked on a long list of compelling documentaries including Fyre Fraud; Rest in Power: The Trayvon Martin Story; States of Undress; Gaycation and more. With a specialty for investigative documentaries, Nimkin is no stranger to capturing highly emotional conversations and working in extreme environments. Experience has taught him – sometimes the hard way – that in documentary work you usually have just one chance to get the sound right.
Though the numbers are certainly on an upward trend, it’s still rare to find women in professional audio, especially one as prominent as Sara Glaser, CAS. Having gotten her start in the industry in college as a recording engineer nearly 20 years ago, Glaser’s major successes can be found in her work as a production sound mixer for feature films and episodic television. Some of her most recent credits include Westworld, Grey’s Anatomy, Feud: Bette and Joan and the Netflix feature film, Rim of the World.
For more than 10 years, production sound mixer and location sound recordist, David Thirion, has been using DPA microphones to capture audio for film and television projects. Their audio quality and natural sound was a key reason for his choice, but equally important was the tiny size of some models, which makes them ideal for situations where they need to be hidden on actors’ bodies or in costumes.
With a unique improvisational acting style at the heart of the Netflix original film, Paddleton, capturing audio was of paramount concern for sound supervisor Daniel S. McCoy CAS, owner and operator of ToneMesa, Inc. “Sometimes, the team would go off to unplanned locations and I’d have to be ready to follow immediately,” says McCoy.