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Getting respect from production in fast paced TV


Christopher Mills

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I have started describing my cart (utility) as The Wiring Cart.  Started saying this over walkie "please have the talent report to the wiring cart to be wired for the scene"

Amazingly swiftly, this has caught on with the AD and set PA crew. 

No more "Can you wire these guys in their trailer/chair near set/video village/actual set?"

And I hear the chatter adopting the term right away.

YMMV, but I am at least claiming to have originated the term.

Cheers!

CM

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Great idea. "Wiring Cart".

I am often asked if we can wire elsewhere. It's a mistake to allow it, because then it becomes more and more frequent. If they ask "why", it's easy to reply... "All the stuff is here. I don't know if we need an ankle or waist strap, or a clip. I don't know what color mic is best, or what sort of mount to use..." etc. etc.

I'll make an exception, of course, if it's only one wire and it's a difficult costume which requires wiring before dressing. In which case we put a little care package together with a bunch of stuff.

It's hardly ever more efficient to wire away from the cart. And time is all they care about.

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RPS: " It's a mistake to allow it, "

I would disagree, as there are many cases where it is a good idea, if not a requirement; the justifications range from reasonable and proper to merely annoying and petty; and while it may not be our preference, or most efficient, it is often a fact of on-set production life.

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Sadly, with how things are these days, "wiring everyone" becoming the norm, it is inefficient to be wiring people all over the place.  Sometimes, being accommodating will come at the expense of time and quality (not having the right stuff with you - making adjustments after the "take 1 rehearsal").  It's usually the PAs asking on behalf of the AD, thinking it'll be faster and easier to wire on set while they are talking to the director, or in a trailer while they are getting ready.  There's a reason one thing is done at a time.  It's the way things are done correctly.

 

I am a big proponent of going with the flow, but in this case, it's just not the right choice.  My utility guy often wants to "go with the flow" against my wishes, and is regularly caught chasing down actors and being unprepared by take one to swing a 2nd boom.

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Another thing I am doing, as often as I can get coopertation from wardrobe, is to spend part of my prep time (and attempting to get paid for it), is to meet with wardrobe and discuss what's a rental, what's not, and at least see the look book, if not the actual costumes.

I have found this makes wardrobe much more disposed to helping make costumes wiring friendly, both in look and in material selection.

Then, on set, the costumer and I can work together to get the job done.

I always make sure that the set costumer has an invitation to be present as we wire talent.  Sometimes, they feel this gets them an extra 'last looks,' which they like.

This also keeps me in IFB range of the mix cart, so that the mixer and I can evaluate the lav and adjust immediately.

This has greatly reduced the request for adjustments after talent has been wired.

 

While we do sometimes need to adjust or reset the microphone, the goal is to place the mic once, correctly, and let the talent do their acting without interruption from us.

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This all fine if you primarily work on films or commercials.

Almost all reality shows, producers, directors etc all want the contestants wired well away from set so the challenge or what ever it is, is not revealed in any way. They want the reactions of the contestants the first time they see the set.

We always take transmitters, tapes, straps etc in a box or pelican case and wire up wherever production wants us to.

Different approach for reality tv.

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Peter,

I kindly explain such producers that it would take me 3-4 times slower if I have to chase "talent". Even if I have to go somewhere it is preferable to have everybody together. Most of the tome they go with it...

Women with tight dresses are a different story. They can not be wired just anywhere especially in public.

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They are always together in a bunch. We don't chase people around either.

It's really not that big a deal to mic up elsewhere. Sure in a perfect world it would be nice to wire up at base but it never happens!!

You are referring to an entirely different world than the OP. Difficult to compare, really.

I'm on board with CM (as far as dramatic work goes). Time at base-camp is time away from lighting and framing decisions that could have a very real impact on carpeting, boom coverage, etc.

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Another thing I am doing, as often as I can get coopertation from wardrobe, is to spend part of my prep time (and attempting to get paid for it), is to meet with wardrobe and discuss what's a rental, what's not, and at least see the look book, if not the actual costumes.

I have found this makes wardrobe much more disposed to helping make costumes wiring friendly, both in look and in material selection.

Then, on set, the costumer and I can work together to get the job done.

I always make sure that the set costumer has an invitation to be present as we wire talent. Sometimes, they feel this gets them an extra 'last looks,' which they like.

This also keeps me in IFB range of the mix cart, so that the mixer and I can evaluate the lav and adjust immediately.

This has greatly reduced the request for adjustments after talent has been wired.

While we do sometimes need to adjust or reset the microphone, the goal is to place the mic once, correctly, and let the talent do their acting without interruption from us.

I hadn't seen this post as it was at the same time as my first one.

This is a good approach.

We have an excellent relationship with the wardrobe dept on the big show I do every year. Makes life a lot easier!!

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Of course, my goal is to make our tool kit on wheels understandable as The Wiring Cart, so that it is not considered just a hamper on wheels, like other departments use to move a miscellany of stands, wires, cleaning supplies, craft services, etc..

Its has a specific purpose, as does a DIT station, a playback cart, etc.

We are technicians with a special set of tasks and an associated workstation.

When other depts understand this, they collaborate more effectively with us.

 

If you must pack up a portable kit, you will still benefit from production seeing it come from a specific cart.

 

And to those of you negotiating rentals on your package, having a wiring cart on your inventory helps justify the compensation you seek.

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