Jump to content

Who brings the slate?


Billy W

Recommended Posts

I was on set of a commercial shoot doing run and gun production sound mixing this past week and I hit quite a snarl. As soon as I arrived I was asked if I had slate. There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it.

The producer, DP, and AC all looked at me in agreement and said, "sound always brings slate."

I felt bad beside I couldn't refute on the spot, but now that I've researched I can't find anything on the subject. I would assume either the AC or whoever is renting gear would bring it.

So does anyone here know who brings the slate?

New poster here, done lurking in the shadows. Hello!

Link to comment
Share on other sites

  • Replies 80
  • Created
  • Last Reply

Top Posters In This Topic

I was on set of a commercial shoot doing run and gun production sound mixing this past week and I hit quite a snarl. As soon as I arrived I was asked if I had slate. There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it.

The producer, DP, and AC all looked at me in agreement and said, "sound always brings slate."

I felt bad beside I couldn't refute on the spot, but now that I've researched I can't find anything on the subject. I would assume either the AC or whoever is renting gear would bring it.

So does anyone here know who brings the slate?

New poster here, done lurking in the shadows. Hello!

Without prior conversation to the contrary, I would say 99% of the time the Production Sound Mixer supplies the slate.

Link to comment
Share on other sites

In my world, an AC typically carries a dumb slate and the PSM furnishes a time code slate, if needed -- billed appropriately.

It gets tricky on smaller productions (and even some big ones, as I think about it), because often the person doing the booking and requesting a rate, has no clue as to gear requirements.

Link to comment
Share on other sites

Thanks for the replies. I guess its just a word of mouth rule as I can't seem to find any documentation that this is the standard. Lesson learned.

So do you just always bring a Timecode slate or dumb slate? Timecode slates aren't cheap and based on the amount I've been asked to supply one, I would probably rent.

Link to comment
Share on other sites

Time code slate? If that's what they meant, then it is a mixer item that's expected on any "professional" shoot.

Not sure what the criteria for a "professional" shoot is but I guess this was one of those.

Funny thing is they didn't even use the Timecode in post. They used camera sound for pluraleyes sync and manual where needed.

Link to comment
Share on other sites

"So do you just always bring a Timecode slate or dumb slate? Timecode slates aren't cheap and based on the amount I've been asked to supply one, I would probably rent."

 

Traditional non-TC slate is usually a camera dept. thing (they are used when not shooting sync sound and on some projects it is the ONLY slate, no so-called "smart (TC) slate" is needed).

 

Timecode slates are not cheap and if you are generally on jobs that do not need a timecode slate (not sure what those jobs are) then don't buy one. It will be your responsibility, however, to determine in advance what the production is expecting you to provide and what rates have been agreed upon.

Link to comment
Share on other sites

How many years you been doing this Billy? You may have been in over your head if this is news to you. Nothing wrong with being new, we all were, but this is very basic Production Sound 101 stuff.

CrewC

I've been doing it for about 3, only 1 year full time. Very new and always learning, but it would appear the "production sound 101" book hasn't been written. My situation wasn't literally written into any of the (mostly useless) film/sound books I've accumulated over the past decade. Is there some secret wiki somewhere or a book you would recommend? Or will it just be a series of gaffs and asking around to figure this all out?

Thanks again for the advice everyone.

Link to comment
Share on other sites

TC slates were invented by sound guys back when cameras (that is film cameras) did not speak TC, so they were (and are) considered a sound dept thing.  So, yes, they are kind of considered part of a basic package anymore, no matter how they get billed for.  I can see that the arrangement looks peculiar to someone just starting out, but that's how it is at present.  They may be planning to sync via some auto-sync app like PluralEyes, but being able to see the start TC for the audio clip in picture is a good ref for when things get confused in post.

 

philp

Link to comment
Share on other sites

Hi, Billy, and welcome: " There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it. "

yep, it should have been talked about!

gang: "sound always brings slate."

well, yes, if it is a TC slate(s), and requested,  but workflows vary so much that it really needs to be specified; an experienced PSM would always ask.

 

as Crew (Old School here) noted, maybe we would have a better context if you told us a bit about yourself..? you seem to be a rookie novice.  this isn't a written rule in some book, though it is covered in books like Jay Rose's www.dplay.com and Rick Viers' www.mwp.com; this is a norm, a custom for the last 25 or so years, whenever TC is involved.

yes, they are costly, and rental is a possibility.

Edited by studiomprd
Link to comment
Share on other sites

If you are going to be a sound guy, you need to buy a TC Slate. Also, it's a good idea to get a cheap "dumb" slate because nowadays the cam dept. many times forgets they should have one. The thing is that sound has been given the responsibility of sync----cam should be responsible for sync boxes  on cam although a lot of sound guys have screwed this up to get rental.

 

                                                              J.D.

Link to comment
Share on other sites

as Crew (Old School here) noted, maybe we would have a better context if you told us a bit about yourself..? you seem to be a rookie novice. this isn't a written rule in some book, though it is covered in books like Jay Rose's www.dplay.com and Rick Viers' www.mwp.com; this is a norm, a custom for the last 25 or so years, whenever TC is involved.

yes, they are costly, and rental is a possibility.

I'm definitely a novice to the scene but am well practised in making great recordings and have worked as an audio post producer for quite some time and know what is expected from that angle. I am, however, somewhat new to the traditions of the production world and am hungry to learn. I've been reaching out and meeting local PSM's to both learn and make friends in the field, but have had very little luck finding some sort of apprentice role in the Boston area, so I tend to learn everything on my own either on set or on the internet.

JD - thank you very much for the book recommendations.

Link to comment
Share on other sites

If you showed up to an actual commercial shoot with no TC slate....and you seemed shocked by the concept... I can guarantee you production was not only shocked, but in a panic mode over who they hired..

A properly equipped commercial mixer should not only have one expensive TC slate...but 3 of them..and a whole lot of other stuff as well...

You have to learn somehow...consider this a great learning situation..

This will all come with time and you will look back on this and laugh about it....I promise...

Link to comment
Share on other sites

I was on set of a commercial shoot doing run and gun production sound mixing this past week and I hit quite a snarl. As soon as I arrived I was asked if I had slate. There was no mention of bringing slate on our prepro call and this marked my first experience of being expected to have one without previously talking about it.

The producer, DP, and AC all looked at me in agreement and said, "sound always brings slate."

I felt bad beside I couldn't refute on the spot, but now that I've researched I can't find anything on the subject. I would assume either the AC or whoever is renting gear would bring it.

So does anyone here know who brings the slate?

New poster here, done lurking in the shadows. Hello!

Hi Billy and welcome.

As afewmoreyears said this is a great learning experience.

Always bring a slate even if you have not been requested to bring one.

If there is a need for slate offer to rent it to production.

Post will love you and you will get hired again and again...

Link to comment
Share on other sites

As a side note to the OP and conversation, "We" all bring and have available way more gear than we will ever use on any given shoot day. Never rely on production for all your needs. They often have no idea what we do or how we do it. Also please find a mentor or someone at a rental house to help you get yourself up to speed. Making a good recording is the easy part of the game IMO. The rest is hard. Best of luck.

CrewC

Link to comment
Share on other sites

To the OP - I am thinking that at this early stage of your career that you might need to make immediate contact with other, more experienced mixers in your market to access the actual rate structure for labor and gear numbers... 

In addition to learning what to bring (plus expensive spares, just in case) you really need to be charging clients appropriately,

lest you inadvertently become the scourge of your marketplace.

 

This is very important to ALL newbies in ALL markets.

 

MF

Link to comment
Share on other sites

At this point I might also add that, lately, what constitues an "AC" can be often be somewhat lacking ----

One used to bring a front box and at least a set of proper tools - and of course a slate, and even an insert slate.

 

Now I'm being constantly asked if the can "borrow" my dry-erase (?), screwdrivers, my Leatherman,

and if I carry around a P-Touch!!   (Printing your labels is NOT part of my gig, pal)

 

I now carry a dumb slate around in the van as part of my stuff - but if they cut me early "you are SOL bud"

 

MF

Link to comment
Share on other sites

To the OP---- maybe you should try to work with a mixer on some low budget shoots as a boom operator-----so you can learn about sound mixing and set etiquette.

 

                                                                 J.D.

Link to comment
Share on other sites

Hi Billy and welcome.

As afewmoreyears said this is a great learning experience.

Always bring a slate even if you have not been requested to bring one.

If there is a need for slate offer to rent it to production.

Post will love you and you will get hired again and again...

I keep a tc slate in my kit and bring it on every job though it rarely comes out these days. it is experiences like yours - client asking for one when i didn't anticipate the need ahead of time - where this saves my arse.

Ken

Link to comment
Share on other sites

I've been doing it for about 3, only 1 year full time. Very new and always learning, but it would appear the "production sound 101" book hasn't been written. My situation wasn't literally written into any of the (mostly useless) film/sound books I've accumulated over the past decade. Is there some secret wiki somewhere or a book you would recommend? Or will it just be a series of gaffs and asking around to figure this all out?

Thanks again for the advice everyone.

 

The secret wiki is working with more experienced people as you go out on your own. There is a great deal of on set unspoken protocol that may only be learned from experience.

 

If you can't engineer a long-form apprenticeship to a senior mixer...get out of the motion picture business now, you haven't the common sense to succeed there.

Link to comment
Share on other sites

Thanks for the advice everyone. Boston isn't a huge market and I've mostly encountered many many small shoots and student films from small production companies that all seem to have very unique and cavalier approaches to how the set is ran. I'm assuming a lot of it is jobs a "professional" PSM wouldn't want to touch. This is partially the reason why I've never encountered this problem.

And Jan, I'm trying man. I quit the day job years ago and am meeting as many mixers as I can. Wish me luck, huh?

Link to comment
Share on other sites

Over here ( Montreal ), it's as follow:

TC slate is sound department ( because we also supply TC syncbox for camera ). Charged as extra and mentionned ahead of time unless it is specified as a double system shoot in which case, you would be pretty stu... not to bring one.

Dumb and insert slate are 2nd ass cam tools and they bring them.

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...