Thomas Curley, CAS
Thomas Curley was born in Troy, NY and lived in upstate NY until late 2001. He studied engineering, film and video production before graduating with a BA in Film Studies at the University of Buffalo. After years of broadcast engineering for Fox and NBC affiliates, and some production assistant work, Thomas met multiple Academy Award winner David MacMillan, while working as a PA on Dreamworks' "The Time Machine" in Troy, NY. David graciously introduced him to the world of Location Sound Recording, and the seed was planted. Six months later, Thomas moved to Los Angeles to pursue production sound full time. Since then, he has worked almost incessantly, and continues to pursue feature film and television work. After only a year in LA, Thomas joined the International Alliance of Motion Picture and Television Engineers Local 695. In February, 2008, Thomas was inducted into the Cinema Audio Society. He is an avid inventor, photographer and writer as well.
II keep in mind constantly, that I and my crew are responsible for the quality of half of a complete piece of media.
A high quality production track is the first step to a high quality final sound mix.
Anything but the best crew and equipment will cost you valuable time and money in production and post.
I consistantly update my equipment to stay on the leading edge of professional audio technology.
My approach to production sound is simple. I analyze each shot as it comes. I discuss the shot with my crew, and production, and choose sound setups based on what is best for the production (not what is most convenient) at all times. I try to consider what will help the editor have a simple and logical work-flow, and advise production on how to best take the sounds I record efficiently into post to save time (and money) and maintain the quality of the original master throughout. I look at what each camera sees, and what the actions, and dialog call for. If the script notes something I will also take this into account. I then assess the environment, and decide if, and how any offensive noise can be eliminated, or deadened. I then assess the room, or environment, and apply all of these factors to my knowledge of accoustic science, and to the individual properties of the equipment I use. I then decide how to actually mic the shot, and tweak these setups as things change.
I don't consider this a job, but an adventure that I get to embark on every day. I love what I do, and it shows!
Suggested Reading:
My article on recording sound in Folsom Prison (PDF File Page 13)
-By Thomas Curley, CAS
A good article on managing Creative/Technical experts (aka Geeks)
Replace "IT" with Film crewmembers, and this article is highly enlightening
-By Jeff Ello
A good article discussing shooting a high volume of pages per day
-By Tom Brandeau
Click here to read this document. It is essential if you are in Pre-Production!!!
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