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Anyone had this happen?


Jeff Hall

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I recently worked a reality gig--very run and gun, 6 wireless, 1 boom, hops to 2 cameras (w/split mixes), and IFB for 3 producers.

Then a PA gives me a walkie/earpiece that the production requires I use, and end up trying to follow mostly unintelligible/irrelevant producer chatter.

What gives? How do I do the job I'm hired for when I'm not allowed to do it? I'm supposed to be mixing sound, not resemble a hobbled pack animal.

Anyone else have a similar horror story?

 

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1 hour ago, Jeff Hall said:
41 minutes ago, ProSound said:

That is reality tv for you welcome to thick of it. I try to avoid wearing a walkie at all costs but sometimes it is unavoidable. If I do have to wear one I try to have a separate channel for myself to avoid all the mindless producer chatter. 

Thanks for the responses, guys.

Yeah, I'm no stranger to the genre. But my experience in the last year or so seems to be "more work, less money, less experienced people, much less communication."

What I've tried to do is to obviously ask multiple questions as to what their vision of Sound is, and then send my own Deal Memo back to reflect that conversation. This has helped me from being blindsighted on location by producers who ask for something that wasn't discussed. Sometimes the office is receptive, other times they're in a hurry to just fill a slot. It can be somewhat messy in the heat of the moment, but at least I've tried to cover my bases. In short, I want to be able to protect myself (and provide the production what we've agreed on), hopefully with a minimum of pushback.

I've very rarely had near the problems with any other types of work. Curious to see how other folks here have dealt with this...

 

 

41 minutes ago, ProSound said:

That is reality tv for you welcome to thick of it. I try to avoid wearing a walkie at all costs but sometimes it is unavoidable. If I do have to wear one I try to have a separate channel for myself to avoid all the mindless producer chatter. 

 

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I find it normal for everyone in a reality production to wear a walkie.  Once I found a way to make it work for me, I now find it a big help.  Almost all communication is done via walkie, and if you're not on it you are out of the loop.

I run my walkie into an input then put a heavy compressor on it so loud and quiet talkers are at the same level and I don't get my ears blown out.  I have two headphone presets one with the walkie (usually only one ear) and one with out so I can turn it off when. I need to.

 

I'm seeing more reality productions asking for more gear, longer hours, and offering less money.  I was just asked to work a half day, 50% labor and 50% equipment.  First time I've been asked for half off equipment for a half day.  Add to that 3 hours of travel to an island, and the whole thing seemed wrong.  I quoted what I thought it would cost.  I did not do the job.

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It's not just reality, on commercials with flighty auteur type directors who mostly only whisper to their DPs, being on the PL is necessary to avoid being run over by the rest of the depts.  I don't like it much but 1: it's the only way to get any foreknowledge of changes to shots or where we're going next and 2: the prod folks expect to be able to call for you on the radio and have you immediately come back to them…  Makes my ear sore...

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I find reality jobs (at least the jobs I accept) to pay as well, or better, than many commercial calls. Reality is now so heavily scripted, that the days are similar to lightweight sitcom/drama work, except with lots of wireless. Days rarely reach 10 hours, and I happily wear a walkie, as it makes the work more entertaining to me (personally) and I know exactly what's going on (especially lunch break), as that info is never announced aloud by an AD, like it is on a traditional set. Nor do I have to get info second-hand from a boom op, or overheard from various grown-up confabs.  Cast are typically much friendlier than tight-assed actors trying to "hone their craft" with mumble-tracks. 

 

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 Most of that chatter you're hearing should be the director(s) talking to camera, and it doesn't help if there's a lot of extra voices needlessly blabbing away.  Somehow, you have to of take it in easy and let that chatter flow but still be present when it involves you. Split your mind one more time.         Reality TV is a very strange thing. Some bright young anthropologist should do a doctoral thesis about the culture of Reality TV productions.

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Like many others, I try to avoid walkies at all costs. If people want me to know stuff they can do their job and come and find me. I'm not hard to spot :)

If I must wear a walkie, I recommend getting your own channel and using the Tony Smyles box. 

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It depends on the show. Smaller crews, I'm happy to be in the loop.... Assuming it's not constant chatter. Often the bigger crews will put camera/sound on a different channel.

Especially on shows where each sound bag is feeding 2 cameras, it can be helpful for the 3 of us to communicate about what's happening. I can hear (or see their RF levels) if a cast member is coming back towards the view of the cameras, and tip them off to catch the entrance. We can talk if a battery needs to be changed (camera's or a cast member).

I never want one on scripted work where I'm at a cart. I would never listen while mixing. There are people that can relay info.

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Even with only an 8 person Reality crew, not wearing a walkie has made my job harder. All it takes is a producer who used to be a shooter, thinks sound is secondary, and doesnt care if I'm out of the loop (theyve even rolled without me).

Thanks for the Smyles !

Here I come...cuz Im a good sound boy, and I will split my mind one more time and wear an additional "can".

best

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