Hello internet world! My name is Jeff Hilman, and I worked as one of the “sound guys” on the set of Fear or Favour. Alongside Noel Anstey and David Parfit, I am working as a boom mic operator, sound recordist, foley artist, sound designer, sound mixer, and co-composer. What do all these have in common? They’re a ton of work! Oh yeah, and they involve the audial side of the production, too. Coming into this project, I had an idea of what lay ahead in terms of the work. What I didn’t know was that all these seemingly separate jobs weren’t so separate after all. From start to finish, the process may be a tiring one, but overall it will be an unforgettable and extremely valuable one, too. Continue reading
The main role of a Unit Publicist is to generate publicity around a production, and they generally begin work four weeks before the shooting dates. They work with producers to plan any and all press strategies for the film shoot. These strategies include the amount of information that is released, the times with which to release this information, and the amount of coverage. In this way, unit publicists work as a buffer between the media and the film production. They work within budgets set by producers, usually on freelance or contract basis for the duration of the shoot, sometimes until the film’s release date or even further.
Hi, it’s Noel here – just your friendly neighbourhood audio tech!
In anticipation to filming Fear or Favour I’ve been researching the roles and duties of the sound department in a typical production team. These duties may greatly differ depending on the size of the production team and the scope of the project. While there may be 10 or more unique roles inside of the sound department, for Fear or Favour Jeff and I are doing it all! Despite this and for the sake of my own interest, I decided to research how a larger sound team might be assembled. Continue reading