If budget or conditions won’t let you do it the way you know it should be done, then turn down the job and walk away. It is better to have a reputation for being excellent (though a little stubborn) than for being easy (but incompetent).
There are no apologies nor excuses run under the dailies. Good sound is always expected (and taken for granted). Bad sound, on the other hand, is always attributed as your fault. You will never heard it said that "even though the soundtrack was poor, the Mixer did a good job considering that we made him use bad equipment and no boomman." Instead, they will remark that they should have hired so-and-so, since that Mixer did a fine job on the last shoot.
Producers and Directors find it much easier to blame the Mixer than themselves.
On the set, be congenial and friendly. Remain cool and calm; avoid shouting. Stay out of people’s way. But on the other hand, remain strong, confident, and aggressive when necessary. Press for what you know is right. Don’t back down easily or be intimidated. Fight for every inch of closer mic placement, and any other reasonable improvements for the good of sound. But very importantly, always arrive on any set with the best in terms of personnel and equipment! If you surround yourself with a skilled team of people, and bring along all of the equipment necessary to do the job right—then you have pushed the odds in your favor of recording great Production Sound in the face of the chaos and confusion that run so rampant on many productions.
Personnel that compose a professional Sound Crew
The basic production sound crew consists of the Mixer, the Boom Operator, and the Utility Sound Technician.
Production Mixer
The Mixer is the head of the Production Sound Department (usually just called the Sound Dept.) on a show. The Mixer is responsible for recording the dialogue and effects necessary for the editors to cut the show. Crew and equipment contributing to that end fall under the supervision and control of said mixer.
Politically, it is the Mixer who interfaces with the Director and Producer in pre-production and on the set.
The Mixer is ultimately responsible for finding out what is going to happen in the current shot; for making suggestions to the Director (when appropriate); for working out a miking strategy/approach (often in conjunction with the Boom Operator); for mixing and recording the audio signal; and for approving the recorded take to the director as "okay for sound".
In conjunction with the Script Supervisor, the Mixer will make sure that all wild lines and wild sound effects get recorded.
In union parlance, the Mixer is known as a Y-1 or an A-1. The Y-1 designation is from the I.A.T.S.E. Local 695, which is the Hollywood sound union most prevalent in feature filmmaking and episodic television series. On the broadcasting side, the term A-1 is more common, and is used by NABET.
Salary range for a Mixer depends on the budget and nature of the production. On non-union industrial or corporate shows, Mixers earn approximately $250 to $400 per day in Los Angeles. (Note that salary structure will vary for different regions of the U.S.)
Union shows, of course, tend to pay better. Union scale is approximately $350 per 9-hour day, but on the more typical 12- hour long workday—overtime brings it closer to $500. The going rate for commercials is also $400 to $500 per 10-hour day.
Boom Operator
The Boom Operator (Boomman, Boomperson, etc.) is one of the most underestimated functions on the entire crew. Layman wrongfully assume that the Boomperson is merely someone tall enough and strong enough to hold up a big stick with a mic attached to the end. Hence, novice producers often assume that a grip or "someone else not too busy" can be assigned to work with the Mixer.
On the contrary, Hollywood has learned to appreciate and respect the skills brought to the set by an experienced Boom Operator. Most Mixers consider the Boom Operator as their equal partner on the set. With increasing frequency, the closing credits of feature films group the names of the Mixer and Boom Operator together under the single heading of "Production Sound".
A Boom Operator needs to be in excellent physical shape in terms of upper body strength. It is no easy feat to hold a fifteen foot long fishpole over your head at full extension, particularly with microphone, shockmount, and windscreen attached to the end. Especially over the course of a grueling 12-hour day. And day after day.
However, holding up the fishpole is only the beginning. A Boom Operator needs to know what to do with that mic on the end of it. A knowledge of microphone sensitivity and pick-up patterns is crucial.
The microphone must be cued (aimed) and/or repositioned overhead from actor to actor as they speak in turn. Cues cannot be late, or else the first words will be lost and the take ruined.
In order to accomplish this, the Boom Operator must be able to quickly digest parts of the script, but mainly to memorize the action of the scene from rehearsal (or first take) and to pay attention to subtle body language that forecast when talent is about to speak (eye movement, intake of breath).
Some actors shout while others hardly whisper. Recording dialogue requires balancing the two diverse levels to within an acceptable range. A lot of this is done by the Boom Operator, by taking advantage of microphone pick-up and rejection angles. By favoring the soft voice, and playing the overbearing one slightly off-axis—it is possible to achieve a pleasant balance of the two vocal performances, without having to resort to extreme raising/lowering of the volume level back at the mixing panel or recorder end. (Note that ping ponging the volume level up and down during the take might balance the voices, but would create editorial havoc with the background sounds.)
Maintaining framelines and keeping the mic out of the shot is required, but so is keeping the mic in as close as possible. What with zoom lenses and dolly shots, this can get quite tricky. I have worked with several boommen who have become adept at judging whether the camera is zoomed in or out by observing the angle of camera tilt on the tripod head.
Fishpoles and microphones cause shadows. A working knowledge of lighting is necessary, if one is going to create the least amount of visual interference. The skilled Boom Operator will eyeball the lighting in relation to talent moves in order to determine from where and at what angle to boom the shot. Sometimes, it may become necessary to tactfully make constructive suggestions to the gaffer regarding alternate light placement, or the use of flags & cutters to mask boom shadows.
The Boom Operator must be attentive at all times to what his or her mic is picking up in relation to all of the other mics on the set. It is for this reason that the Boom Operator wears headphones and monitors the complete program mix, not just the boom microphone. In the event of microphone phasing problems (two mics on the set picking up the same sound at the same time, creating cancellation), the Boom Operator and the Mixer must both react immediately in order to save the take. The Mixer fades down one of the offending mics at the same instant that the Boom Operator strategically repositions the overhead mic.
Other problems on the set may also require instant reaction from the Boom Operator, such as loud or soft delivery of lines, ad-libs, sound effects, and actors missing their marks.
Boom Operators may also need to skilled on the operation of the Fisher Microphone Boom. They also need to know how to rig lavaliers and radio mics.
In fact, the Boom Operator should be qualified enough to take over for the Sound Mixer in the event of absence or potty break.
The Boom Operator needs to have one final attribute. He or she must be telepathically on the same wavelength as the Mixer. Somehow, with no or minimal handsigns or verbal communication, the Boom Operator and Mixer must be able to react to situations like a set of Siamese twins.
It is because of this extreme need for partnership on the set that the Mixer should always demand the right to choose the Boom Operator. For a Producer to saddle a Mixer with an inept or incompatible Boom Operator is to court disaster. For a Mixer to compliantly accept such a Boom Operator is to jeopardize his or her own career, since ultimately the Mixer is responsible for what they hear in the dailies. It is better to turn down an assignment, than to have it turn out badly.
The Boom Operator is designated in union parlance as a Y-8 according to I.A.T.S.E. Local 695. In broadcast, the designation may be an A-2.
Salary range for a Boom Operator is from $150 to $350 on non-union industrial or corporate. Union shows and commercials will pay $250 on up for the basic 9-hour day, plus overtime. Commercial rate of $350 is not at all uncommon.
The I.A.T.S.E. requires a minimum of a two-person sound crew (Mixer and Boom) for any day that dialogue is to be recorded, though a three-person crew is pretty common. Personally, I find that there are very few situations where less than a two-person crew is physically adequate, other than sound effects gathering or quick ‘n dirty ENG.
Utility Sound Technician
The above mentioned third person on the sound crew is known as the Utility Sound Technician. In the old days, the position might have been known as Cableman. As a result, a lot of people think that all a Utility person is needed for is to wrangle mic cables.
Back in the Golden Era of Hollywood, cameras and sprocketed sound recorders (not exactly portable, but at least the trucks that carried them could drive around) had to be physically linked by thick, three-phase power cables that drove the sync motors. These cables were huge and heavy. Also, in those days, microphone technology was nothing like it is today—hence the need to rig a fair number of mics strategically all over the set. So there was a definite need for a few cablemen!
Today, what with crystal sync, portable Nagras, radio mics, and condenser microphones—there is no longer the physical need to run thick cables over great distances, nor even the need for as many mic cables.
But there is still the need for at least one more person on the sound crew, namely the Utility! The main function of the third person is not to run cable, but to run boom.
Very often, the dialogue will span a distance greater than one mic boom can deal with, due to the time and travel required to cue from one actor to a distant one. The solution is to deploy a second boom or fishpole.
Radio mics require skilled hands to test them and rig them on actors. During the take, receiver antennas must often be "boomed" to keep up with action.
Microphone cables must still be rigged for plant mics hidden in the set; and sometimes there is still the need to walk cable behind the boom operator (although this can be done by anyone).
Scenes shot to sync playback of music or special tracks require a Playback Operator—a skilled person to cue up and operate the playback Nagra.
Finally, it is valuable to have another trained person on the sound crew who can fill in at anytime for either the Mixer or the Boom Operator, or who can go off and record 2ndnd unit on their own. Utility Sound Technicians are not common on non-union industrials and corporate productions. When they are present, their salary can range from as little as $75 per day on up, depending on their skill and necessity. Sometimes, they can earn as much as the Boom Operator, particularly if they are needed frequently for 2ndnd Boom or sync playback.
In union parlance, the Utility Sound Technician is designated Y-7a. Scale pay rate is approximately $225 for a basic 9-hour day, plus overtime.
Others on the Sound Crew
Depending on the nature of the production, other personnel may need to be added to the basic crew.
Additional Boom Operators may be permanently needed, particularly in multi-camera "live" shows. Sometimes on a regular feature or episodic TV series, such as "Hill Street Blues", a second Boom Operator may be normal in addition to the Utility Sound Technician.
A specialist Playback Operator is usually brought in on situations calling for extensive or complicated playback sequences. Good Playback Operators can understand and read music, as well as converse in music phraseology with composers and choreographers regarding cue points.
The proper equipment
In addition to needing the right personnel, the achievement of good Production Sound requires having the right tools.
Don’t leave the choice of equipment up to others. The Mixer must always assume responsibility for the selection and preparation of the equipment package.
If arranging for equipment is left up to the production company, they will inevitably only order what they feel is economically essential. Since the people who might be ordering the equipment are probably not experienced sound mixers, that means you can almost certainly expect to be lacking a few items that are essential.
Similarly, if you are putting together your own package and ask the production company what you will need, they might also lead you astray. Ask anyway -- sometimes the information that they give you is useful, but plan for contingencies.
For instance, I once mixed an automobile commercial where they wanted me to record a few lines that the storyboard indicated were to take place in an office interior. Easy enough. Most of the commercial consisted of exterior drive-bys of the car—no sound. So, I sat around at the base camp that had been set up in an outdoor parking lot, while the camera crew photographed the running car shots.
When it seemed like the car shots were nearing completion, I inquired as to where the office set was where we would be shooting the rest of the commercial. A Production Assistant pointed me to behind one of the trailers. There—smack in the middle of this noisy, windy parking lot—a crew was erecting three wall flats and some black drapes... an open air exterior set made up to look like an interior! Had I originally trusted the production company and the storyboards, I might only have come equipped with a complement of interior microphones. However, experience has taught me to always pack as much equipment as I can transport.
My boomman and I rigged our exterior shotgun mic and heavy duty windscreen, and we did the scene outdoors with little problem. The framing was tight enough that we were able to close mic the scene so that traffic noise was not audible.
Moral of the story: Always be prepared.
Don’t scrimp. Go with the best.
Proper equipment means having the best that is available to get the job done. If you cannot afford to own it, then rent it!
Use high quality microphones.
Choose the highest quality microphones that you can, such as the "industry standard" condenser shotguns from Audio Technica, Sennheiser, Schoeps, and Neumann.
In contrast, I would not choose as my first choice in production microphones any of the fine electret condenser systems on the market, such as the Sennheiser K3U/ME80 or the Audio Technica AT835. Mind you, these are absolutely excellent microphones for the money. They serve well as reliable back-ups, or for low budget applications such as university film departments.
But compared to the (more expensive) condenser microphones, the electret condensers currently on the market do not offer anywhere near the same exceptional reach and sensitivity. Although the sound from the electrets is comparable to the better mics when used at short range, if you have to increase the distance (such as to accommodate wider framing) the relative crispness and isolation of the dialogue will diminish noticeably.
Recording dialogue on the set is very difficult due to the constraints of camera and lighting. Better microphones are worth the difference!
Also, do not think that any one microphone will do it all. Just as the camera requires different focal length lenses for different applications—there are different microphones for different situations.
A later chapter will cover the selection and application of microphones in detail.
Mixing panels are a must!
Another item that most budget conscious beginners tend to overlook is the value of a good mixing panel. Even if you are only going to be using one microphone at a time, the mixing panel is an indispensable tool. It provides the soundman with subtle control over the input at all times. Having this means of controlling (riding gain) on the input makes a major difference, especially when working with video recorders that only offer tiny tweaking knobs for microphone input.
Again, the selection and operation of specific equipment will be discussed in detail in upcoming chapters.
Prep your gear meticulously.
Your capability to record sound hinges strongly on the ability of your equipment to function when on the set. Having the best of gear, but not being able to make it work, is frustrating and career damaging. There are no apologies nor excuses run under the dailies!
Bottom line is that the Sound Mixer is responsible for checking each and every piece of gear that is earmarked for the shoot. Every recorder, every microphone, every accessory, every adapter cable, and every mic line must be checked with the same care and concern that a skydiver employs with his parachute.
Do not assume that because the equipment is coming from a rental facility (or studio sound department) that it has been checked. Rental technicians are generally underpaid, undertrained, and in a hurry. They don’t care! For them, the worst that can happen is that they will have to deduct an item or two from your rental bill.
Also, rental techs and many soundpeople make the error of checking items individually, but not cross-checking them. All of the mics may work when bench tested, but may not work when used with a particular battery supply or mixing panel. Other mics may work with the one power supply packaged with them, but not with other supplies in your kit.
Plug everything into everything to insure complete compatibility and interchangeability.
Be extremely careful to verify the contents of your rental contract. Make sure that no items that you originally ordered were forgotten or overlooked. Double check to make sure that you do, in fact, have everything that the contract lists you as receiving. Be especially careful to log all of the misc. accessories, such as lavalier mounting clips, foam windscreens, adapters, cables, etc. Otherwise, you might find yourself being billed for all of the "missing pieces" that normally go out with a mic (but did not go out with yours!).
Allow sufficient time to prep your equipment. Plan to prep and pick-up your equipment at least one half-day prior to the shoot itself. For one thing, you will need ample time to check through everything. But in the event that you do discover a malfunction, the rental house may not have a replacement ready to go. If they need to subrent a replacement unit, or repair the broken one—that half-day buffer provides the time frame to do it!
Never leave the rental house without checking everything. Not only is it un-professional to show up on the set with equipment that you can’t make work, but you are economically liable for everything on the rental contract. Anything missing or damaged can be billed to you the moment the equipment cases go out the door!
You personally, or at least a personally close member of your sound team, should prep the gear. If a production company driver is to transport the equipment from the rental house, make sure that you have prepped everything in advance of the pick-up. Sealing the cases isn’t a bad idea, either.
Defining Equipment Packages
During the pre-production stage, it will become necessary to think and deal in terms of basic equipment packages. When defining equipment and budgeting in terms of these packages, bear in mind that these are simply terms of convenience. The specific contents of each package type will vary from studio to studio, rental house to rental house, and even mixer to mixer.
Members of the industry use these terms for generality only. When it becomes time to actually order equipment, forget the terms and get down to specifics: one of these, two of those, this adapter, etc.
Note that the use of the term "channel" is synonymous with "equipment package".
One-Mic Channel
The One-Mic Channel is the most basic of the generic sound recording packages (channels). It consists of a Nagra 4.2 sync recorder, headphones, one condenser "shotgun" microphone (usually either a Sennheiser MKH416 or MKH816), a short mic cable, and a short fishpole.
The One-Mic Channel is the typical one-man band type of set- up. Picture one person with a Nagra strapped over the shoulder and a shotgun mic in hand. Applications would include sound effects gathering, wild lines, and documentary.
For documentary production, the sound mixer might want to add a couple of lavaliers for interviews.
Daily rental is approximately $75 to $100 per day.
ENG Mic Channel
This is the video equivalent of the (film) one-mic channel. Since audio in video is recorded on the VTR instead of a Nagra, the package does not include a recorder. However, since most VTR’s do not offer adequate mic mixing (input control) and the fact that camcorders are carried by the cameraman—a small mixing panel is absolutely necessary.
Contents of a typical ENG Mic Channel would include a mini mixer (such as the Shure FP-31 or FP-32, or the Audio-Technica AT4462); headphones; one shotgun mic; cable; short fishpole; and 2 lavaliers.
Video folk seem to be enamored with the use of electret condenser shotgun microphones, such as the Sennheiser K3U/ME80 and the Audio-Technica AT835. Many video rental houses will supply these automatically, in lieu of the higher quality condensers such as the Sennheiser MKH416 or MKH816.
Daily rental is approximately $75 per day.
Stage Channel
The Stage Channel is a complete sound recording package for theatrical style filmmaking (such as feature films, commercials, and episodic television series).
Contents typically include: one Nagra 4.2; a production mixing panel; soundcart; fishpole; three condenser mics; duplex mic cable to the boomman; a few hundred feet of assorted single mic cables; and a few lavaliers. Sometimes more in the way of equipment, sometimes less. Again, remember that exact contents will vary from user to user.
Note also that two types of items are generally not included: headphones and wireless mics. As for headphones, it is normally assumed that the Mixer and Boom own their own. Wireless mics are a separate and expensive item, contracted for over and above the basic equipment package.
The term Stage Channel originated from the concept of filming on the soundstage or backlot of a major studio complex. All of the basic sound recording tools are present; but replacement equipment and specialty items are not included. In the event of equipment malfunction or special needs, it was only necessary to send the "third man" (Utility Sound Technician) a few hundred yards over to the studio "Sound Shop" for additional gear.
Stage Channels, although they may vary somewhat in the number of fishpoles and microphones, basically all share the concept of including only one (expensive) Nagra recorder.
Daily rental is approximately $150 to $200 per day.
Location Channel
What if the Nagra was to break? Do we cancel the shoot and all go home? Or do we just sit around for hours while someone drives back to the rental house for another?
In either case, it is not a good scenario. Therefore, the idea behind the Location Channel is that we have TWO Nagras, as well as a very full complement of microphones and other needed equipment. The magic word is redundancy. Location Channels are beefed up Stage Channels, and feature two Nagras and plenty of equipment for major set-ups and contingencies. Radio mics are still extra, though.
A good rule of thumb is: If a replacement Nagra is more than thirty minutes away (or you are shooting on weekends, holidays, or nights when rental houses are closed)... then go out with a Location Channel! If the shoot is big budget and every minute lost can cost big bucks, then definitely equip yourself with back-up gear.
The difference in cost between a Stage Channel and a Location Channel is only $75 to $100 per day. That’s a small price to pay for "insurance".
If the production company balks at the added expense, ask them to sign a waiver leaving you blameless for delay in the rare event of the recorder malfunctioning. They almost certainly won’t sign such a document, but they will give in and let you rent a back-up machine.
Daily rental is approximately $200 to $275 per day.
Video Mic Channel
The Video Mic Channel is merely a Stage Channel complete except that there is no Nagra recorder. It is for film-style video production, and includes a soundcart, mixing panel, fishpole, condenser mics, etc.
Daily rental is approximately $125 to $150 per day.
Production Accessories
In addition to budgeting for the basic sound recording package, there is a wide selection of "add-on" items that should be given consideration while in the budgeting stage.
Wireless Microphones
Personally, I have always felt that these things should be called what they really are, neither "wireless mics" nor "radio mics", but "wireless cables". Because in effect, the transmitter and receiver of a wireless mic system do not replace the microphone itself, and virtually any type of microphone (with the proper adapter) can be used with the wireless system. The part that is replaced by the "radio" is the cable.
However, wireless mics is what they call them, so therefore I will. There are also a number of four-letter and other obscene words used to describe wireless mics because of their notorious unreliability on the set, but that is a different tale that I reserve for the section on wireless mics. This section is still on pre-production planning and budgeting.
Wireless microphones are relatively expensive to rent. Daily rates are approximately $40 to $60 per day, per channel. (When dealing with radio mics, the term "channel" is used literally. One system, consisting of transmitter and receiver, is assigned to each frequency.)
In addition to the daily rental fee, one must also budget for batteries. Wireless mics go through Duracell 9-volt batteries like kids go through candy. Most receivers use one to three batteries, which will last one or more days. The body-pack transmitters, on the other hand, use one battery which should be changed every few hours! Since fresh batteries (not the sale ones that have sat in the warehouse all year) can cost up to $3.00 each—you’d better figure on at least another ten dollars per day per unit.
Now for some simple arithmetic. If you only have one actor who needs to be wired, how many radio mics must you bring? If you only answered "one", you are quite an optimist (but hardly and experienced Mixer). Again, if the radio does not work, do we all get to go home early?
Wireless microphones are notorious for not working when you need them to. Not only are they subject to electronic malfunction or damage, but they are susceptible to every form of radio-wave interference that has ever caused your television reception to wobble. You name it—it can cause interference. Police radios, walkie-talkies, computers, video monitors, vacuum cleaners, aircraft, passing traffic, neon, radar, electronic flea collars and bug zappers, and the list goes on. There are even supernatural "black holes", akin to the Bermuda Triangle!
If you are going to use a radio mic, bring along extra units. Sometimes changing to a different unit on a different frequency helps. Sometimes not. The use of wireless mics is more of a mystic art than a science.
For convenience, four wireless mics may be housed in a case with central powering and fed from a single antenna. This is known as a "quad box". Although the quad case itself will rent for $15 or $20 per day, some rental houses will package it at no extra charge when you rent four radio mics to go into it.
To improve reception, a more efficient antenna system other than the little rubber stubbies that come from the manufacturer may be used. Examples would be dipole antennas, directional TV- style antennas, ground-planes, and hi-gain systems. Add, as an option, another $15 per day for a special antenna rig.
So, if you envision the need for radio mics in your Location Channel, plan on approximately $150 per day for a quad box (four radio mics), plus batteries.
Ironically, many clients who are too cheap and fight me over the hiring of a boom person will suggest that I could make do with radio mics instead. Radio mics are not cheap, and even when you have them it does not guarantee that they will work. I’d rather have a boom man.
Fisher Microphone Boom
The Fisher Microphone Boom is one of the most versatile tools a sound crew could have. The Fisher is a studio boom featuring a dolly base, center column support, and an extended arm capable of telescoping as well as rotating (cueing) the microphone. The arm is high and out of the way, yet is able to reach & follow the actors even during complicated moves across or through the set.
Two standard sizes are available: a 16 foot arm; and a 27 foot arm. The 16 foot model is more popular for single camera film/video, and is easy to deploy in smaller sets. The larger, 27 foot version is more often found on the multi-camera sitcoms and audience shows.
Operation of the Fisher does require a little bit of training and a whole lot of practice. I would not bother to rent one unless I had a skilled boom operator on my crew. But in the hands of a person who knows how to use it, the Fisher can reach into places on a set and follow talent far beyond the capabilities of any handheld fishpole.
Daily rental is only approximately $25 per day, which is about half the price of a single radio mic!
Sync Playback Package
There will be times when it is necessary to play back a pre- recorded soundtrack on the set in order for talent to lipsync and/or dance to it. Achieving lipsync in filmmaking requires the same degree of sync precision in playback as it does in live recording.
To play back a soundtrack IN SYNC requires: 1) a soundtrack recorded with a sync pulse or timecode; 2) a portable tape recorder capable of reading the sync or timecode and resolving (playing back in sync); and 3) some means of making the playback track audible to the talent.
Sync playback will be covered in detail later in this book.
As for equipment, a basic playback package consists of a timecode Nagra recorder (equipped with a resolver), an amplifier, and some loudspeakers.
Daily rental runs from approximately $60 on up for the amp/speakers, depending on the size of the speaker/amplifier system. Plus the cost of the playback recorder and timecode slate.
Time Code Nagra When the production company knows that the camera negative is going to be transferred directly to video for post-production and broadcast release, it has become industry practice to record time code onto the production audio tracks. During the transfer to video process, the film negative is rolled down in the telecine to the head of the shot or the clapstick slate and the time code is entered into a computer. That computer system then searches for the matching time code on the audio tracks. Then the controlling computer pre-rolls (backs up a few seconds) both the telecine and the audiotape machine, then both machines are put into FORWARD PLAY. It takes a moment for the telecine to reach normal speed. The computer monitors the time code of the audio, and adjusts the speed accordingly so as to achieve lipsync. Picture and audio are then transferred together onto the videotape for future editing.
Currently, the only model Nagra that can record S.M.P.T.E. time code is the IV-STC, which is configured for two-track (stereo) plus time code. Daily rental of a Nagra IV-STC is approximately $75 to $90 per day, or about double that of a Nagra 4.2.
Therefore, add about $50 per day to the cost of a basic Stage Channel, or add $100 per day to the cost of a Location Channel.
But we’re not done yet! Most of the film cameras on the market are not yet equipped with their own time code generators. In order to make the time code visible on the film, the industry uses a clapstick slate (Denecke TC-1) that features a bright display of the time code coming from the Nagra. Originally, the manufacturer assumed that a mic cable would link the slate to the time code output from the Nagra. In short time, though, the industry adopted the practice of using a wireless transmitter and receiver system (Comtek).
Daily rental of the Denecke time code slate and the Comtek wireless system is approximately $75 per day.
Total daily rental for the Nagra IV-STC and the slate package is around $150 to $175 per day.
Communications
The Sound Department is routinely asked to provide communications on the set.
The first type of communications you will be asked for is an audio feed from your mixing panel or recorder for the Director, Script Supervisor, and Client.
At its simplest, the Mixer would derive a spare headphone feed, plug in a long extension cable, and give the headphones to the proper party. If more than one person needed to monitor, then the Mixer would use some sort of headphone splitter box.
Crude, but effective.
There is a much better way, however. Wireless.
Industry practice is to deploy a miniature transmitter on the soundcart. Anyone who needs to monitor the soundtrack is given a miniature receiver along with headphones. Eliminating the long extension cords saves a ton of time, permits the Sound Mixer to move the soundcart as needed, and allows the listeners to roam freely about the set.
Listener freedom is very important to the Director. Prior to the use of wireless, Directors were notorious for destroying headsets at the rate of a few per day—since they inevitably would jump up from their chairs and rush onto the set, usually neglecting to remove their headphones FIRST.
The industry standard for wireless monitoring is the Comtek System. Transmitters rent for approximately $20 per day; and each receiver rents for around $15 per day. Figure on three receivers, so budget approximately $65 per day for Comteks.
Walkie-talkies compose the other main form of on-set communication. The most popular radios in use by our industry include the Motorola HT400, HT600, MT500, and Radius P200. A professional grade walkie-talkie—featuring 5 watt output, 4 or 6 channels, and frequency assignment on the motion picture bands—rents for around $12 per day. Small productions will commonly ask for at least four radios; larger productions may want as many as three dozen.
Expendables
Besides budgeting for personnel and equipment, don’t forget about the expendable items. On even a medium sized production, the bill for these miscellaneous, yet important, sundries can get too expensive for the Mixer to absorb out of his/her own wallet.
Tape Stock
Make sure it is clear who is buying and bringing the stock. Don’t automatically assume that the production company is bringing it, the cameraman, or the soundman.
Use only the brand and type of stock that the individual recorder is biased (set up) for. Most Nagras are currently calibrated for 3M type 908 (no longer available), Ampex 406, and Zonal 818. Also, there are many Nagras that have been equipped with oversize plastic lids that allow the machines to use seven-inch reels of tape. Seven-inch recording stock runs twice as long (30 minutes at 7 ½ ips) as the standard five-inch (15 minutes at 7 ½ ips). Most 7" sells for around $7.50 per roll; most 5" sells for around $5.50.
How many rolls of tape will you need? I find that on a major production such as a commercial, feature, or television episode my average usage was two or three rolls of 7".
Another way to calculate tape usage is to find out how much film stock has been budgeted for. A one-thousand foot roll of 35mm runs for about 11 minutes. A four-hundred foot roll of 16mm yields about 11 minutes. If you are using 15 minute rolls of tape (5" reels), then budget one roll of tape for every magazine of film. If you are using 30 minute rolls of tape (7" reels), then figure about 2.5 camera magazines per roll of sound.
Remember that audiotape is relatively cheap compared to film stock and the cost of production. Never be afraid to "waste" tape. Reload your Nagra while the camera crew is reloading, so as to avoid delays later on.
If you are shooting long takes, especially interviews, or the director likes to talk a lot before calling "Action"—then reload early enough to avoid any risk of running out during a take.
Very often, the Sound Mixer will be asked to provide the tape stock and to bill the production company. Don’t feel guilty about making a slight profit on the transaction. If the company wants to "save money", then let them foot the bill for all of the stock!
You are the one laying out the cash to buy enough stock for the shoot plus plenty of extra (just in case), but will only be reimbursed for what is actually used. That means that your cash will be tied up in tape stock until the next shoot. You cannot return unused tape stock to the dealer, since no respecting professional would ever want to go out with tape stock that someone else may have subjected to excess heat, etc.
More than likely, videotape stock will be provided by the cameraman or the production company. It is rare that the Sound Mixer is asked to supply videotape, unless he or she is also providing the video equipment. It never hurts to ask, just to make sure. What you find out could save the cameraman a lot of embarrassment, and since you and the cameraman probably work together a lot for a number of video clients...
Batteries
Just about everything on your soundcart operates from batteries. Nagra recorders use 12 "D" cells, and will run two to four days. But always have a spare dozen standing by! Power supplies for your mics generally use two 9-volts. Comteks and popular wireless mics also use 9-volts, but some brands may be different. Other equipment will have their own particular battery requirements.
Even if you have AC adapters, it is still better to run off of batteries in order to avoid the risk of AC induced noise. The same principle that lets the "plug in to any outlet" intercom upstairs in the baby’s room be heard on the intercom downstairs in the living room applies to professional recording. Noise travels along electrical wiring, even when the outlets are on different circuits.
Never buy batteries on sale. Batteries get put on sale when stores have too many of them, and they have been sitting around in warehouses too long.
Purchase all of your batteries from a reputable supplier. Check some of the batteries at random with a digital voltage meter to insure that they are fresh and putting out full capacity.
The industry has found that overall, the Duracell brand of batteries seems to be the best. Also, their two-color design makes it easy to orient the batteries correctly, even in dimly lit environments.
Used batteries should be tossed away immediately. Don’t put them back into original boxes or even store them near your equipment, lest someone mistake them for new. A number of Sound Mixers give small BAGS (never the original boxes) of used batteries to other members of the crew for use in non-critical equipment such as flashlights.
Sundries
Other items that you will need include: rolls of 1" cloth camera tape (white, black, and perhaps colors); 2" cloth gaffers tape; 1" surgical tape; rubber bands; safety pins; marking pens; printed sound reports; spare flashlight (to replace the one you will loan to someone and not be returned); spare pocketknife; spare mini-tool kit; Static Guard spray; ACE bandages; alcohol prep pads; canned air; TF Solvent; a tape slicing kit complete with razor blades, colored Avery dots, and sync beeps; cheesecloth for wind protection; acoustafoam; velcro; condoms for waterproofing mics and wireless; and perhaps even handcuffs & chain for securing equipment cases from being quick-snatched.
Dealing with Rental Houses
As I have mentioned before, I do not trust Rental Technicians when it is my career on the line. Double-check and prep everything carefully!
Place your order with the Rental House early, at least a few days in advance. If you have a shoot coming up, but it has not yet been 100% confirmed, let them know this. They can pencil your order in tentatively, and then check in with you later to verify a firm commitment.
The worst thing that you can do is to march in to a rental house and expect them to drop everything and assemble you a complicated package right on the spot. For your own sake, give them some advance warning!
Be very specific when you order. General terms such as Stage Channel are fine when talking with producers, but have little meaning in a rental house. Tell them exactly what you want, and itemize every accessory and adapter cable that you envision needing. Take nothing for granted in terms of assuming that the technician knows "all about that stuff"—unless you are familiar with the technician personally and have dealt with that person before!
Always write down the name of the technician that you are dealing with. Yours may not be the only order; nor may there only be one person working in the rental department. For that matter, make sure that both of you are clear on what name the order is reserved under (your personal name, the company name, or the name of the production itself).
You would not expect to walk into a strange bank and walk out with fifty thousand dollars in cash without a lot of credit checking. Do not assume that rental houses are any different. Establish an account with them well in advance of the date you need the equipment. Their credit check is not to guarantee that you’ll pay them the fifty bucks for the rental of the Nagra, but that their ten thousand dollar recorder and you aren’t just going to disappear!
Sometimes, the rental can be billed directly to the account of the production company hiring you. Personally, I prefer to do business that way when I can. If the equipment rental is on my account, and the production company decides not to pay when they are supposed to, then I am stuck holding the bag. They owe me, but I am the one owing the rental company!
If you are acting as the "agent" of the production company—in other words, doing the ordering and picking up of the equipment, but not financially responsible—make sure that this fact is clearly understood by the rental house. Do not let them confuse your personal rental account with that of your client or employer.
Insurance on all equipment is mandatory. All equipment must be insured at "full replacement value" by the insurance carrier, with the owner of the equipment (in this case the rental house) listed as the "loss payee" (the check would go directly to them).
Proof of insurance must be provided to the rental house in the form of a "certificate of insurance". This certificate comes direct from the insurance company itself, and must be requested in advance so as to be received by the rental house before the day of equipment pick-up. The advent of the FAX machine has made this process a whole lot easier and quicker.
Note that this is a special BUSINESS INSURANCE, and is not included with typical homeowners or automobile policies.
On large productions, the production company will have their own insurance policy covering all of the equipment. Professional freelancers will also tend to have their own blanket insurance policy, covering rented equipment during the year.
Insurance is available from several major companies specializing in motion picture or entertainment industry services. Check your local film/video trade directories for listings, or ask the rental house.
Some rental houses also offer house insurance, which is billed as a surcharge to your rental. It is usually billed as a percentage (e.g. 10%) of the daily rental fee, multiplied by each calendar day that the equipment is in your possession. Calendar day means that you have to pay the insurance even if it is not a billable rental day (such as a holiday, or a long-term discount).
Rental rates are based on the "daily rental". A daily rental is a one-day rental. You can pick up the equipment late afternoon the day before (since shoots start early in the morning), and can return it in the morning of the day following the shoot. So, for a Wednesday shoot, you could pick up the equipment Tuesday afternoon and return it on Thursday morning.
If the rental house is closed due to holiday or weekend, you do not pay since you could not have returned the equipment on that day. It is also "assumed" that neither you nor the drivers from the production company are working.
Friday afternoon to Monday morning (a Saturday rental) would only be billed as a one-day rental. A sneaky person could claim they were shooting on Friday, and Thursday afternoon to Monday morning would only be one-day. But don’t abuse it—rental companies aren’t stupid and may not want to rent to you in the future.
A week consists of any seven consecutive calendar days. Most rental houses offer a discount in that you will only be billed for an "XXX-day week". Most common is the "four-day week", although some houses offer "three-day" and even "two-day" weekly rentals on equipment that is hard to rent. However, as long as a holiday or a weekend does not reduce the number of available working days to below four days, you will still be billed at the four-day weekly rate.
Some rental companies offer additional discounts for long term rentals. For some, long term means four weeks; for others it may mean six weeks, etc. Ask your local rental house about their definition of and discounts for long term rentals.
Ask about travel days, rain days, and shipping. Travel days are days that the equipment is in your possession, but not being used because the gear is in transit. On long term rentals, these days may be gratis; on short term it is negotiable at the time the order is placed.
Rain days are days when the production is postponed due to inclement weather. You must call in the morning of a rain day; you may be asked to return the equipment for the day to avoid rental charge, or a discount may be applied via phone. Again, these things must be negotiated in advance.
Shipping charges are normally paid for by the renter. It is usually far cheaper to ship one-day air and pay more for shipping but save on the rental. Some rental houses will charge you for a rental day even if the equipment is in transit. Sometimes, they will split the difference: not charge you on the day that it is shipped out, but you continue to pay rental while it is shipped back.
In the event of equipment malfunction while out on location, contact the rental house as soon as possible and inform them of the problem. They may be able to trouble-shoot the repair over the phone, or may be able to send out a replacement to you right away. Or maybe not. (Production Mixing is the art of creative problem solving.)
However, do not expect to receive a discount or credit for faulty equipment—unless you alert the rental house within 24 hours. (How are they to know whether the radio mic that you rented broke down on the first day, or worked great for 13 days out of a 14 day shoot?) The rental house may opt for you to return the equipment for a replacement, return the equipment for a credit, or just hold onto it until the end of the shoot.
Working up a budget
How do you respond when a producer wants to know how much is good sound going to cost?
Assume that this is a medium budget, corporate production, being shot on film. Non-union.
Let’s start with a crew.
The Mixer works for $350 per 10 hour day. Time and one-half for every hour beyond ten.
The Boom Operator ("Yes, I have someone in particular who works with me") gets $275 for 10.
Since this is low-budget, we will not hire a Utility Sound Technician.
For an equipment package, let’s go with a basic Location Channel at $250. Or, if the shoot is local and not far from a rental house, we could budget for a Stage Channel at $175.
Even if the Sound Mixer owns all or part of an equipment package, a production should be budgeted the same as if it were all being rented. Because it is. If not from the rental house, then from the Mixer. Equipment costs money to purchase and maintain, and the Mixer is entitled to recoup that. As for giving the production company an extra discount for privately owned gear, the Mixer should counter by pointing out that privately owned equipment is in better condition and better stocked with adapters & accessories.
Radio mics (four) will run around $175. Perhaps we can get by with only two, at about $100.
Comteks will be useful for the Director and Client. Add $65.
Four walkie-talkies, at $12.50 each, is $50.
Tape stock and batteries will be billed on an "as used basis", approximately $30 per day for stock and $25 for batteries.
Camera tape, canned air, and marking pens will be provided by the production company.
Add another $10 per day for incidental expendables.
Totals for sound: Almost $1100 per day. Of course, that figure will go down if the shoot goes beyond four days, since the equipment is billed on a four-day week. Salaries remain the same, though. Costs could have been reduced by eliminating the Comteks and going with a Stage Channel instead of a Location Channel.
Nobody said that filmmaking was inexpensive.
Oh, could I recommend any good, cheap soundmen? Well, I know a lot of good soundmen, and I know a lot of cheap soundmen, but I don’t know of any GOOD AND CHEAP soundmen!
CHAPTER SUMMARY
Good production sound does not happen by accident. It requires the concerted efforts of the entire production company, both on the set and particulary during pre-production planning.
Scout your locations carefully with regard to sound. When evaluating a potential location, scout it on the same day of the week and same time of the day that you intend to shoot.
Select your Sound Mixer with the same care that you take when choosing a Director of Photography; don’t just assign the critical job of sound recording to "anyone who isn’t busy".
Members assigned to the Sound Crew should not be expected to do the work of other departments, unless everything that needs to be done for sound is complete and they are merely sitting idle.
Hire, or at least pick the brains of, an experienced professional Sound Mixer. Consult with the Mixer early on, so as to be able to take advantage of budget and production suggestions. In the long run—even though an experienced mixer will cost more up front—their experience and ability can save valuable time and money in post-production.
Be wary of advice from Rental Technicians. Not being experienced in the ways of production, their suggestions may be rooted in guesswork or rental profit.
Take a professional approach. Do it the best you know how, or don’t do it at all. They do not run apologies during the dailies; and your reputation will hinge on what they hear in the soundtrack.
The basic production sound crew consists of the Sound Mixer, the Boom Operator, and the Utility Sound Technician.
Equipment selection and prepping is the responsibility of the Sound Mixer, regardless of who the equipment is being billed to.
Use only the best equipment available on the market. Be prepared as much as possible for contingencies and changes in the shooting schedule.
Use condenser mics and a mixing panel.
Equipment should be meticulously checked before leaving the rental house; and at least a half-day before the start of the shoot to allow ample time for repair/replacement.
Types of equipment packages include: One-Mic Channel; ENG Mic Channel; Stage Channel; Location Channel; Video Mic Channel.
Accessories to the basic packages include: wireless mics; Fisher boom; sync playback; time code Nagra w. electronic slate; Comtek wireless audio feeds; and walkie-talkies. Expendables include: recording tape stock; batteries; and assorted sundries. When dealing with rental houses, establish accounts and place orders in advance. Be specific when you order. All equipment must be insured. Ask about discounts on weekly and long-term rentals. Ask about travel days, rain days, and shipping policies.