This week I watched Mullholand Drive, as instructed by the producer and director, and took down notes on the sound design and how they were creating and recording sound. I especially payed attention to where the mic was placed to see if the actors seemed like they were whispering or they were far away to try and tell if I would need to talk to my HOD about lav vs. boom.

I also attended my first crew meeting, where I met the entire crew and briefly went over shooting dates and what would be needed of me and when. I do have some scheduling issues with the director, but luckily there is two boom operators on set, so if I do truly need to leave I can do so without causing too many problems for the crew. However, I am going to try and get out of my other commitments before resorting to that.

From the masterclass with Lindsey Watson I took away that:

1. Editing has different ways of entry, going from photography into editing as a commercial editor.
2. Difference between editing in a post-house and freelance editing
3. Working as a documentary editor you don’t start as an assistant, and you rarely work in an editing team
4. Oftentimes assistants will stick with the same person, similarly how Watson followed a photographer for many years
5. Different companies will work with different editing software pertaining on the project.

Week 3 – Blog Post / Dahlia Hellerstein / Film and TV 1C: Introduction to a Film Set (2023-2024)[SEM2] by is licensed under a