Freelance Field Recording - Is there a Demand?

Posted: Wed Apr 11, 2007 6:29 pm

I've been doing some research on setting up an audio-career plan for a class assignment, and I was curious if there is a high/med/low demand for freelance field recording teams?
(a few guys that have all the mics, poles, battery powered mixers, DATS, synchronizing equipment, and the audio/video post production facility+equipment?)

Or, would I probably be better off with an entire film team with cameras and camera operating gear? (a far greater investment)

I really want to become a field sound recordist or a boom operator out of college, but this specific assignment requires me to come up with a full business plan.

Your opinions on the subject are greatly appreciated!!

Posted: Thu Apr 12, 2007 6:30 am

Why not find some names of people who do sound recording on the Discovery Channel or the National Geographic channel (see the credits at the end of the programs) and write to them via the channel and ask them your questions about how much work they have. Most people who are really good work as a team that may include the videographer and or cinematographer, a producer and director and they work for the above named channels or NPR or they freelance with movie or TV production companies. Being from California is a big plus since there are a lot of production companies in that state.

I did field recordings for a TV station I worked for with a Nagra and a fish pole boom and a Sennheiser shotgun microphone and it was fun work and we got to go a lot of places that were normally off limits to ordinary folks and I know it can be a lot of fun.

Best of luck!

Posted: Sun May 27, 2007 3:18 am

I can only speak about the U.K. and Europe but freelance sound recordists are very much in demand here!
The reason is that most people who want to become cameramen have to spend time working as an assistant. Nowadays, in documentary and current affairs, that means recording the sound. As a result we have sound recordists with absolutely no interest in sound, who are looking over your shoulder, itching to operate the camera.

Good sound recordists are therefore worth their weight in gold.

In the U.K. most sound recordists have their own gear. On the continent, gear is often supplied by the production company. I don't know how it works in the USA.

Posted: Wed Sep 12, 2007 9:07 pm

I work on film sets here in the US, but not in the sound recording side of it.
I am always peering over the shoulders of the sound guy, and his setup.
They seem to own most of their equipment, bolted to a cart on wheels.

Although I am sure that if it is a large production, with many wireless mics, etc., they will rent the extra gear for the job.

I asked a sound guy once. He said, get some gear and some books, and practice. Then try to get a job being a mic boom operator.
Good practice might be volunteering to work on some student films. They are always looking for help making their "thesis" films. This would build a portfolio for you as well.

Just remember .......you need a relatively firm understanding what you are doing if you are in charge of any size sound job. If you happen to f--k up, entire shots might be lost, or need to be re-shot or dubbed over....ouch.

Oh yeah....one more thing.....depending on the project, there are Unions here.

=RR=

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