Joshua Anderson, CAS
@productionsoundmixer.com
records dialogue for film and television
Reposted by Joshua Anderson, CAS
this is fantastic, a thorough and compellingly argued theory of modern cinematic sludge
Why Movies Just Don't Feel "Real" Anymore
YouTube video by Like Stories of Old
youtu.be
November 16, 2025 at 9:01 PM
this is fantastic, a thorough and compellingly argued theory of modern cinematic sludge
Recently mixed 2 days of reshoots on a TV series. Only 2 days, but had club scenes with music, a scene in a cybertruck and even free driving with the vehicle. Typically, those are some of the more "challenging" types of scenes, but had great support from my team and production. Made it much easier.
April 23, 2025 at 7:23 PM
Recently mixed 2 days of reshoots on a TV series. Only 2 days, but had club scenes with music, a scene in a cybertruck and even free driving with the vehicle. Typically, those are some of the more "challenging" types of scenes, but had great support from my team and production. Made it much easier.
We went from spectrum to frontier fiber and had similar results - faster and cheaper. Sounds like you made a good decision - for more than 1 or 2 reasons.
April 1, 2025 at 6:24 PM
We went from spectrum to frontier fiber and had similar results - faster and cheaper. Sounds like you made a good decision - for more than 1 or 2 reasons.
Just watched At Eternity’s Gate for the first time. Besides the wonderful performance by Willem Dafoe and the images that seemed to remarkably echo Van Gogh’s paintings and colors, the use of overdubbed dialogue, sometimes doubled and tripled, had a very interesting effect.
March 13, 2025 at 8:55 PM
Just watched At Eternity’s Gate for the first time. Besides the wonderful performance by Willem Dafoe and the images that seemed to remarkably echo Van Gogh’s paintings and colors, the use of overdubbed dialogue, sometimes doubled and tripled, had a very interesting effect.
Last week, I was in Barcelona and was able to go to L'Auditori for a wonderful concert by the Barcelona Symphony Orchestra: Ravel, a national premiere of a work by Streich, an impromptu trumpet-cello-bass trio and the highlight for me, Sibelius' 5th symphony.
March 7, 2025 at 10:23 PM
Last week, I was in Barcelona and was able to go to L'Auditori for a wonderful concert by the Barcelona Symphony Orchestra: Ravel, a national premiere of a work by Streich, an impromptu trumpet-cello-bass trio and the highlight for me, Sibelius' 5th symphony.
Reposted by Joshua Anderson, CAS
The greatest moment in broadcast television history.
February 1, 2025 at 12:29 AM
The greatest moment in broadcast television history.
Reposted by Joshua Anderson, CAS
Three things:
1. This is a nonsense inquiry and basically all this Trump minion has got. Not impressed.
2. NPR gets less than 1 percent of direct funding from the feds. This will impact local stations, which have broad support.
3. Brendan is an unctuous toady.
www.nytimes.com/2025/01/30/b...
1. This is a nonsense inquiry and basically all this Trump minion has got. Not impressed.
2. NPR gets less than 1 percent of direct funding from the feds. This will impact local stations, which have broad support.
3. Brendan is an unctuous toady.
www.nytimes.com/2025/01/30/b...
F.C.C. Chair Orders Investigation Into NPR and PBS Stations
Brendan Carr, the chairman of the Federal Communications Commission, recently expressed concern about NPR’s and PBS’s sponsorships.
www.nytimes.com
January 30, 2025 at 7:30 PM
Three things:
1. This is a nonsense inquiry and basically all this Trump minion has got. Not impressed.
2. NPR gets less than 1 percent of direct funding from the feds. This will impact local stations, which have broad support.
3. Brendan is an unctuous toady.
www.nytimes.com/2025/01/30/b...
1. This is a nonsense inquiry and basically all this Trump minion has got. Not impressed.
2. NPR gets less than 1 percent of direct funding from the feds. This will impact local stations, which have broad support.
3. Brendan is an unctuous toady.
www.nytimes.com/2025/01/30/b...
Ha! I remember the post supervisor wanting the "sounds of the city" to play a part in the show. So on season 1, we put out the M/S mic for stretches of NYC ambience. Sounds like you were inadvertently continuing the tradition on season 2.
January 28, 2025 at 10:49 PM
Ha! I remember the post supervisor wanting the "sounds of the city" to play a part in the show. So on season 1, we put out the M/S mic for stretches of NYC ambience. Sounds like you were inadvertently continuing the tradition on season 2.
Morning commute was full of trying to explain to a 10-year old how shooting more frames per second meant slow motion and less frames meant fast motion. Ended up with using music notation as an analogy. I might have dropped him off at school more confused.
January 28, 2025 at 10:16 PM
Morning commute was full of trying to explain to a 10-year old how shooting more frames per second meant slow motion and less frames meant fast motion. Ended up with using music notation as an analogy. I might have dropped him off at school more confused.
Thank you! That was a fun - and challenging - show. I used to joke that we needed some daytime criminals so all the crimefighting wasn’t always at night.
January 28, 2025 at 10:13 PM
Thank you! That was a fun - and challenging - show. I used to joke that we needed some daytime criminals so all the crimefighting wasn’t always at night.
One of my college professors gave us an assignment to sit in a space for 15 minutes and then write down all of the sounds that we heard. It was a fascinating way to learn about the sonic markings of a place. It was also very meditative. Sometimes I think about trying to find time to do that more.
January 13, 2025 at 7:09 AM
One of my college professors gave us an assignment to sit in a space for 15 minutes and then write down all of the sounds that we heard. It was a fascinating way to learn about the sonic markings of a place. It was also very meditative. Sometimes I think about trying to find time to do that more.
Mentally, you have to remember what that boom will sound like before you get there and hope that when you meet your boom operator, it matches.
December 30, 2024 at 11:16 PM
Mentally, you have to remember what that boom will sound like before you get there and hope that when you meet your boom operator, it matches.
The fun challenge, even when we can make the majority of the scene work on the boom is when you have to transition from a different type of microphone like lavalieres to the boom.
December 30, 2024 at 11:16 PM
The fun challenge, even when we can make the majority of the scene work on the boom is when you have to transition from a different type of microphone like lavalieres to the boom.
It is still wide and tight but when it is the same headroom, it works. Sometimes we can invade parts of a frame to keep microphones at a better distance.
December 30, 2024 at 11:16 PM
It is still wide and tight but when it is the same headroom, it works. Sometimes we can invade parts of a frame to keep microphones at a better distance.
Sometimes the boom track is unusable due to wide and tight cameras. Sometimes the tight camera is on a person who is standing in a group of people who are sitting, while the wide camera films the entire group.
December 30, 2024 at 11:16 PM
Sometimes the boom track is unusable due to wide and tight cameras. Sometimes the tight camera is on a person who is standing in a group of people who are sitting, while the wide camera films the entire group.
That’s the real trick or that’s what the money is for - we’re paid to make that decision on set as best we can. Part of that decision is making sure the sound works for all the camera perspectives involved.
December 30, 2024 at 11:16 PM
That’s the real trick or that’s what the money is for - we’re paid to make that decision on set as best we can. Part of that decision is making sure the sound works for all the camera perspectives involved.
And it’s a real testament to the relationship in that moment, sometimes unspoken, between the mixer and the boom operator.
December 20, 2024 at 9:01 AM
And it’s a real testament to the relationship in that moment, sometimes unspoken, between the mixer and the boom operator.
But when the transition works, it’s really fun. It’s great to not have to base your mix on lavalieres only because the scene began that way and transitioning to the boom doesn’t match. It holds a bit of magic to the ears to think your boom operator has the range that you’re making it sound like.
December 20, 2024 at 9:01 AM
But when the transition works, it’s really fun. It’s great to not have to base your mix on lavalieres only because the scene began that way and transitioning to the boom doesn’t match. It holds a bit of magic to the ears to think your boom operator has the range that you’re making it sound like.
It can be a little like losing the ground beneath you when you jump to the boom too early, pulling down lavalieres, only to find a boom signal that is too distant and not quite there. It can also be frustrating when you hold the lavs too long and create a phasing signal that disrupts the transition.
December 20, 2024 at 9:01 AM
It can be a little like losing the ground beneath you when you jump to the boom too early, pulling down lavalieres, only to find a boom signal that is too distant and not quite there. It can also be frustrating when you hold the lavs too long and create a phasing signal that disrupts the transition.
But that really challenge is in that transition. The mixer has to remember what the boom will sound like in that space and at the distance to the actors that it will be at. Then the handoff from the lavs mix to the boom operator has to be done without fighting or phasing.
December 20, 2024 at 9:01 AM
But that really challenge is in that transition. The mixer has to remember what the boom will sound like in that space and at the distance to the actors that it will be at. Then the handoff from the lavs mix to the boom operator has to be done without fighting or phasing.