2013 started out on high note for me. I was nominated for a Canadian Screen Award for Best Sound in an Information/Documentary Program or Series for “Museum Secrets”, “The Imperial War Museum” episode. I was nominated along with from the left Melodie Vaughan, Gary Vaughan and Richard Spence-Thomas. We were the sound team for that particular episode of Museum Secrets, both post and location.
To my absolute surprise we won. I was unable to attend the gala dinner held at the end of February as I was working in the Caribbean on the island of St. Maartin. (It was one of those winter gigs that are hard to say no to.) I was, however, quite tickled to win. The photo above was taken a few weeks after the Screen Awards Gala at Kensington Communications’ launch party for Museum Secrets Season 3.
In my role as location sound recordist on ‘Museum Secrets” I attribute a good part of my success to my use of the Super CMIT boom microphone manufactured by Schoeps. This microphone has allowed me to work in challenging audio environments and still come away with useable and clean sound. While shooting in museums around the world we are often in back rooms and restoration areas. For visual and content reasons producers and directors want to shoot in these areas and no one is about to turn off ventilation or climate control systems while priceless artifacts are on display or being worked on. The Imperial War Museum episode is a prime example. Right after the opening credits the active interview with Martin Boswell in the storage facility for military uniforms was one which would have been impossible without the Super CMIT. The background ambiance could only be termed as a dull roar. The Super CMIT set on the maximum filtration was not able to dispel this roar entirely but it was able to reduce the noise floor to where useable audio was able to be recorded so it could further be cleaned up in post. For reasons like this the Schoeps Super CMIT has become my interview microphone of choice.