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50 Things That Suck for Camera Assistants


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Hey everyone! My name is Evan Luzi and I'm the AC who wrote the original post. I stumbled upon this thread via Google (where else, right?) and thought I'd come here to clear up a few things...

First of all, this post wasn't meant to be a serious list of bitching. It was meant in jest and with a bit of tongue-in-cheek. Sort of a "first world problems" for AC's -- no one actually thinks these are real problems that can't be dealt with.

So to address the one thing most of you all seem to be harping on: yes I am aware air conditioning needs to be off for sound. I would never question that choice. Absolutely all that stuff should be off to record the cleanest sound. But that doesn't mean it doesn't suck for the crew! I once shot in a house during summer where it was 88 degrees inside. Our sound mixer was really great about turning on the air between setups and we all thanked him for that. It's hard to have your cake and eat it too -- I agree the sound is more important than my lack of sweat and comfort.

In terms of sutdiomprd taking issue with my statement about in-camera sound, I was thinking explicitly of this story: http://www.theblackandblue.com/2011/05/27/battle-with-george-part-1/

In the post, I talk about how an exec. producer on a feature film blamed me for a sound problem (we were recording from the sound mixer into the RED). Basically, we shot an entire day with the mayor of a city and didn't have one bit of sound. This wasn't discovered until the next day. At the beginning of the day, I had checked the sound levels with the audio guy (yes I know where that stuff is on the camera. I navigated the menus fine, turned on Phantom power as he requested, asked him to double check the levels with me, and he gave me a big fat thumbs up).

Since I am an AC, I obviously don't put priority on the sound being recorded. So I cannot honestly say what the sound levels were while we were rolling -- usually I am thinking more about pulling focus, what the DP is asking of me, what the slate says, etc. I will say that I extended an open invite to the sound mixer to come look at my monitor and see the levels whenever he felt like he needed to. If he had questions, I made myself available to answer.

He also did not record to a second memory card on his mixer setup or have any sort of backup. The in-camera sound was his only copy of the sound being recorded. He also did not routinely check playback on the camera to see if the sound was recording properly and I'm an AC so I don't carry headphones nor think about that stuff.

Anyways -- it all got "fixed in post" -- that's my little defense.

What it all comes down to is this post was meant as a joke with AC's, crew and anyone below the line. As a former sound mixer, I totally appreciate what you all do. I know a lot of my camera brethren can be asses, but that's true for any department.

May us camera and sound departments march forward in unison from here on out!

P.S. in regards to the room tone question, yes airplanes for room tone suck for everyone because we have to wait longer, just like I'm sure you all don't like it because it interrupts the tone.

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Hi, Evan, and welcome....

I stand by what I said about #20, but the description of your problem has some danger signals...

like: why would the sound require camera Phantom power on if it is being fed from a mixer ?

and why wasn't s/he recording a double system copy of the sound when working with the infamous (for sound) RED one.. ???

and why s/he didn't nag you to be routinely check playback on the camera to see if the sound was recording properly ??,

you sound like you know your stuff (including the sound issues) but I don't understand: " asked him to double check the levels with me, and he gave me a big fat thumbs up). " This seems to mean that s/he was monitoring a return from the camera-corder, thus being able to determine if there is a problem with the sound making it to the Camera, and back. So how could that have happened and not have the sound recorded without the sound person knowing there was a problem ??

Unfortunately for a long time we sound folk have had the issue about being responsible for the sound you (camera folks) are recording.

" The Sound Department usually has sufficient time during the lighting of the scene, to deal with and correct their issues or problems that may have to be dealt with, "

this applies on professional shoots, but not necessarily when working with wanna-bee's.

Edited by studiomprd
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Since I am an AC, I obviously don't put priority on the sound being recorded. So I cannot honestly say what the sound levels were while we were rolling -- usually I am thinking more about pulling focus, what the DP is asking of me, what the slate says, etc. I will say that I extended an open invite to the sound mixer to come look at my monitor and see the levels whenever he felt like he needed to. If he had questions, I made myself available to answer.

Hi, Evan -- glad to have you here. I think your blog is very entertaining and well-written, and as noted above, I agree and sympathize with a lot of your points.

On the instance of sound going only to camera, this is a decision made by producers, and I'm not a big fan of it. To me, this runs the risk of something getting disconnected or changed, especially on a fast-moving job. I'm much more comfortable with the sound mixer doing a backup mix (or even a primary mix), but the production company has to pay for this. I understand the necessity for camera-only mixes in guerilla conditions, particularly in warfare or in other dangerous locations, or a news shoot that's going to air in less than an hour. For scripted productions and controlled documentaries or reality situations, I think recording sound only to camera is very foolish.

Good camera assistants make a huge difference in terms of efficiency on the set and getting all the subtle technical details right -- particularly timecode, sound, slating, and all that. I think in a lot of ways, the job of the assistant camera operator is harder today than it's ever been, particularly with the profusion of camera formats and the added complications of computers.

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like: why would the sound require camera Phantom power on if it is being fed from a mixer ?

It was over 3 years ago, so I don't remember the technical details. I may have said this in error or without clarifying just to prove the point that I know what I'm doing :P We did turn Phantom power on a few times when it wasn't fed from a mixer. But you're right in that it probably was off when it was being fed from the mixer.

and why wasn't s/he recording a double system copy of the sound when working with the infamous (for sound) RED one.. ???

Because our executive producer (who was good friends with the sound guy and hired him) was cheap.

and why s/he didn't nag you to be routinely check playback on the camera to see if the sound was recording properly ??,

Because they weren't very competent. After the one day where no sound was recorded he did start doing this.

you sound like you know your stuff (including the sound issues) but I don't understand: " asked him to double check the levels with me, and he gave me a big fat thumbs up). " This seems to mean that s/he was monitoring a return from the camera-corder, thus being able to determine if there is a problem with the sound making it to the Camera, and back. So how could that have happened and not have the sound recorded without the sound person knowing there was a problem ??

Honestly, I don't know. I just remember that day that he never brought up there being any issues with the sound being recorded. Occasionally he would peak over my shoulder, I assume to check the meters, but he never brought up any concerns. We were all surprised when we found out what had happened.

Unfortunately for a long time we sound folk have had the issue about being responsible for the sound you (camera folks) are recording.

Hah that's true. I much prefer not to record sound into the camera because I'm not professionally qualified for it on the same level as a sound recordist and because it adds more work for me when I'm already crunched for time.

I come from a film background where the sound recordist records their stuff, the camera records their stuff, and we work together with making sure proper slating is being used to sync everything up in post. I think it works best this way and is easier in the production process for both departments.

I don't think pointing fingers helps and I've never had any problems with sound recordists before. I go out of my way to help them when possible and make sure they know they're welcome to ask questions of me and to not feel at war with my department. Ultimately both sound and camera are responsible for what the audience sees so it's best when they work together when needed.

The only reason I called this guy out and listed it as one of my things that suck is because I almost got fired over it.

I shit you not, the last day of the shoot when we wrapped, he shook my hand and said, "Here's to the shittiest sound I've ever done." I was floored. The DP and I couldn't believe it.

And what's of the film now? It still hasn't been completed after 3 years. They spent a year alone doing ADR. So even when we did manage to get the sound recorded successfully, it didn't seem to do much good...

He was a fluke though. Almost every other sound mixer I've worked with has been a pure professional and really great at what they do. I respect you all to the nth degree.

And thanks for the warm welcome! It's been really interesting to get another perspective on my post than the usual cam dept. view.

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" Because our executive producer (who was good friends with the sound guy and hired him) was cheap. "

that explains it all...

including:

" how could that have happened and not have the sound recorded without the sound person knowing there was a problem ?? "

maybe s/he did: " "Here's to the shittiest sound I've ever done." "

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I don't think pointing fingers helps and I've never had any problems with sound recordists before. I go out of my way to help them when possible and make sure they know they're welcome to ask questions of me and to not feel at war with my department. Ultimately both sound and camera are responsible for what the audience sees so it's best when they work together when needed.

That's a great philosophy, Evan, and I think almost all of us here agree 100%.

I've had a couple of DPs tell me on shoots this year, "man, we've had fewer problems with you than any sound mixer I can remember." My philosophy is to stay out of their way, get timecode and a scratch track to the camera, make it as self-contained as possible, provide all the cables, and not be a whiner. The only time I speak out is if we have a dialogue issue that's a real problem, particularly one that can be solved by the camera department (squealing lights, problems finding a reasonable boom position, camera noise, etc.).

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  • 1 month later...

Hey, I'm one of those crazy (few) cameramen who actually take an interest in recording the best possible sound. While my first love will always be the image, I know that great sound makes the picture look even better.

There are a few of us out there...

Al

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  • 4 months later...

It was over 3 years ago, so I don't remember the technical details. I may have said this in error or without clarifying just to prove the point that I know what I'm doing We did turn Phantom power on a few times when it wasn't fed from a mixer. But you're right in that it probably was off when it was being fed from the mixer.

Because our executive producer (who was good friends with the sound guy and hired him) was cheap.

Because they weren't very competent. After the one day where no sound was recorded he did start doing this.

Honestly, I don't know. I just remember that day that he never brought up there being any issues with the sound being recorded. Occasionally he would peak over my shoulder, I assume to check the meters, but he never brought up any concerns. We were all surprised when we found out what had happened.

Hah that's true. I much prefer not to record sound into the camera because I'm not professionally qualified for it on the same level as a sound recordist and because it adds more work for me when I'm already crunched for time.

I come from a film background where the sound recordist records their stuff, the camera records their stuff, and we work together with making sure proper slating is being used to sync everything up in post. I think it works best this way and is easier in the production process for both departments.

I don't think pointing fingers helps and I've never had any problems with sound recordists before. I go out of my way to help them when possible and make sure they know they're welcome to ask questions of me and to not feel at war with my department. Ultimately both sound and camera are responsible for what the audience sees so it's best when they work together when needed.

The only reason I called this guy out and listed it as one of my things that suck is because I almost got fired over it.

I shit you not, the last day of the shoot when we wrapped, he shook my hand and said, "Here's to the shittiest sound I've ever done." I was floored. The DP and I couldn't believe it.

And what's of the film now? It still hasn't been completed after 3 years. They spent a year alone doing ADR. So even when we did manage to get the sound recorded successfully, it didn't seem to do much good...

He was a fluke though. Almost every other sound mixer I've worked with has been a pure professional and really great at what they do. I respect you all to the nth degree.

And thanks for the warm welcome! It's been really interesting to get another perspective on my post than the usual cam dept. view.

Hi Evan!

Welcome. Please ignore studiomrpd (Senator) he's a pain in the ass.

I loved what you wrote. Very funny.

You know how sound guys are grouchy on set? Here is a whole forum of them!!!

Complaining is what is done best on here ;)

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I once told a DP that a good sounding movie makes the picture look better. I stumped him for a while and then he ran around quoting me for the rest of the show. Funny stuff!

 

Frank Sciabella popularized that out here in LA for years -- at least, he's the first guy I heard say it, and I don't doubt he wasn't the first.

 

I like Jesse's "Shoot the Rehearsal" graphic! Sad but true. Whenever I yell, "then it's not a rehearsal!", people look at me and frown, like I said a bad word. 

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