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  1. Not that I've done much second unit, but part of the reason I no longer make efforts to set up for such things--having done it for a year or three--is I find the whole mess much like pulling teeth with burger tongs no novocain from both sides of the equation. Here's to doing it better. With a moment to contemplate while prepping, I offer mixer <--> mixer communications up for discussion. Worked mostly with the fabulous Daniel McIntosh on second unit for many years. He was my first call--among other things--because he asks a buttload of questions. Good! It's a comfort knowing he's thinking it all through. Same for the playback mixers with whom I work most. Daniel's once again behind the first unit console these days and for good reason. That's also why I'm spending some time on the subject. Long form work is exhausting and free moments are spent palate-cleansing my brain and ears. During at-cart breaks I think about the future: Next scene; Special /equipment lav prep; Lunch/wrap anomalies; Call the office; Tomorrow's first scene / logistics; Production meeting, playback/special equipment dates; Repairs; Feel moved to streamline the mixer <--> mixer process to free up maximum think time and minimize stress. Crafting sentences helps me think it through with higher logic; that's what I get out of writing here along with a spackling and sanding by colleagues. Based on Daniel's good collected questions I present a first draft of Tandem Unit/Playback tick list: 75% of the technical information a 2nd Unit PSM needs is contained in my Sound Workflow Memo that productions have begun to regularly request. I just edit the most recent one before each new show. The rest is contained in the formal Workflow Memo published by the Post Super following the workflow teleconference. I know how to find those memos later because I always call them the same thing in the subject of the email: Workflow Memo. In the email to the 2nd Unit PSM the utility sound is cc'd with a sentence asking that 2nd Unit PSM order expendables and deal with questions/logistics with the utility. I also include a call sheet and crew list so it's easy to get to the UPM to lock down their deal, including the mention of parking. Ask what they use for sound reports. If they use MovieSlate I share my settings via the cloud. If they use paper realize I should note that fact in that day's sound report email. Mixers get parity. If it looks like there will be an unusual (late) call or location I let them know as soon as I know. Separate email of introduction to production secretary (cc: APOC? POC?) asking for script to be sent. 2nd Unit may need help finding a spot to offload gear. Crew list gives them Teamster contact info. Follow up with Utility on this. I ask my utility to gather sufficient start work to add to the box of expendables to be delivered to their set. So two emails: Mixer cc: 1st unit sound utility: crew list, call sheet, workflow memos, delegates expendables and logistics to utility and a couple paragraphs about any actors' particular preferences. Ask about sound reports. The preference paragraphs are honed in subsequent seasons: one of the best things about TV. Paperwork PA, Mixer, APOC or POC?, Production Secretary: email of introduction asking for script. Have kind of run out of thinking gas, but suppose a lot of this preparation applies to other departmental day players too. Hope to hear more on the subject from y'all. Next project, figure out a logical, smoothe way get all my wireless for working mics out of Block 26 gracefully.
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