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We hired Zach Cowan to work with our team on the set of “Between Love & A Hard Place” as a field mixer, but learned he was much more then that. Over the last year Zach has been integral part of the Blank Stage creative process having played a role in many of the short film projects, from writing, controlling sound to directing. On set Zach is a comic and always ready to give a hug, keeping the mood light while capturing amazing sound. Recently we have learned of his post foley and mixing skills.

Staff writer Mr. Ted Rubin and Zach Cowan shared some coffee and good conversation.

Before we get started, could you tell us a little about yourself and what you do?

I am a Mixed Media artist. I spend most of my time working with narrative video and film. I have a lot of background in Sound Mixing and I use those skills on these projects a lot.

“Making small places sound BIG”

Zach, what an amazing job on as the field mixer of “Between Love & A Hard Place”, can you share with us your experience of the production?

I joined the Between Love team late in the pre-production process, so I met everyone involved on the set just one day before initial shooting. I learned quickly that the Producers of the project felt very attached to it. I found the crew to be a wonderful group of people who I am glad to call my lifelong friends. The long days and nights of shooting gave way to some very innovative and creative film making. As a Mixer there were a lot of distinct challenges that come with On Site filming – traffic, house noises, low ceilings, furniture. The crew did as it should have and worked as a very cooperative team to accomplish the goal of a finished film. I hope it finds its desired success.

Within the past year you have been a integral member of Blank Stage short film projects, ‘Jersey Shark’, ‘Pinebox’ and ‘Poor Boy’ to name a few. What was it like working on those projects?

I Remember Poor Boy as a very hot and sweaty day. Sweat fest indeed. Pinebox was not much different than a 24 hr festival, I don’t think I slept much that weekend and I saw the sun rise twice. Jersey Shark was a project full of excitement and a nice mix of talent with gore FX, many on screen talent, and a dynamic set. All the short film projects that Blank Stage worked on this year have proven to be a valuable way for me to spend my time. I am proud of the trail of work we are treading.

“Audio is half the experience – Visual is the other half”

‘Jersey Shark’ showed off your excellent directing skills, how did you prepare for this experience and what are your plans for the project?

I knew that Jersey Shark was a project that was going to take place, but exactly how was really a last minute extravaganza! The script was written and finished only 20 mins prior to the initial shot taken. A lot of the talent was casted over the phone on the morning of. The brilliant production staff were able to gather quite a cast and a crew to complete this project in only one day of shooting with a few pick up shots to come later. As a director for the project and having very little time to prepare I decided to minimize my priorities and spend a lot of energy on making sure that what we recorded would make sense to the viewer. I focused on one scene at a time and kept in mind all the details we needed each scene to complete a story. I left all the visual story telling to the DP, Byron, and trusted the on screen talent to interpret their characters to what they could act out the best. We had great opportunities for some fun moments of story improv since we had the writers and many other creative people on the set. I am proud of this project.

The sound on each of these films is incredible very crisp clear and you feel like your in the momentwith the actor. How did you get started in sound? Any tricks you use to get your sound as perfect asyou do?

Thank you for the comment on my perfection. I actually approach field recording in an opposite way though. I admit that perfection is not really there, so I try to eliminate any imperfection I can. Things like room and background noise that isn’t a part of the story, and loud peaks of dialogue that sneak up on you. I quiet all I can and try to use a redundant recording method so that when one input fails, the moment is still captured with minimal flaws. My specific involvement with sound began with my involvement with music. I was a performing musician for a few years and during this time I self trained on live sound reinforcement. After my performing days were over I began to apprentice to a Front House Mixer at a club and began learning more specifics on how mic placement worked a long with how a lot of the equipment worked too. At the same time toward the end of college, I began making films with my friend and I spent a lot of time editing. I eventually worked on bigger projects with him where on set, my responsibilities were sound recording among others. I have since worked on countless Television and Film projects as a Field Mixer and a Post Mixer. I know that I have more plans than being a sound mixer, but I hope to always have the opportunity to play that role.

Often sound is overlooked on projects and by first time filmmakers, can you speak to this and if youwere to give advice to someone on how to get started in sound what would you tell them?

I think that sound recording needs are often discovered in post production instead of pre production. In fact, I am sure a lot of things that are needed are discovered in post production, especially on novice projects. For those out there who care about good final products, probably only take one project to learn that sound recording is an integral part of the filming process. As far as giving advice on how to get started, I am a firm believer in interest begetting education. By this, I mean that if you have a desire to learn about sound mixing, I am sure that you will find a way to learn. The equipment can be complex or basic, so it depends on what you are starting with. All you really need is a microphone, a volume and a recording device. They all have a relationship with each other and the subject, through time spent, you will learn how these interact. I had a great opportunity to learn from others, and so I believe that it will be my lifelong responsibility to do the same for others. There are many projects that I work on that I could use an extra hand. Spending time on a set working with a mixer would be a great way to learn new things. I rarely get to work with other sound mixers, but I do every now and then. I cherish those times because I know I am about to learn something that will change the way I work in the future.

Are there any exciting projects that your working on right now?

Right now I have a lot on my plate. I am doing some post production work with the Blank Stage team on a lot of the short films. I also have a couple of writing projects that are a nice creative outlet for me. I have recently joined another production company, RebelStar Media, that is looking to do some Short and Full length films this year and I am working on Pre Pro for those. I will have many projects being released this year including a full length film that I was DP on, a short that was shot in the north pole (both previous projects are in foreign languages), I have a Television documentary that will go on the market this spring, and a whole world of BLANK STAGE MANIA!!!!!!!!

Anything else you’d like to share?

Thank you for the opportunity to talk about myself and be a part of the Blank Stage team. I am proud and excited to be continuing the energy and joy coming out of the screen at Blank Stage.