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How to deal with unrealistic expectations?


JonG

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I have worked myself into a pretty good position with a reality tv production company over the past couple of years, but the shows that we do are becoming more and more demanding on what the capabilities of equipment, one person, and physics allow. Currently I am working on a paranormal investigation show, which is essentially two hosts wandering the darkness getting freaked out from noises and such, with the occasional interview with a witness. Sounds easy enough, but the kicker is that it is all first person shooters with rear facing go pros, and additional cameras mounted every which way, including IR, thermal, and other kids and cameras that cover a 360 degree area, and many places the cast hikes through are difficult wilderness and terrain. Since the cameras see all angles, I need to be very far away. So I use an antenna distribution and amplification system, and mount antennas on my boom pole that basically serves as a walking stick because I can't get anywhere near the cast, and often don't even have line of sight for my wireless. Most of the time I get such good range that I can stay out of everyone's way and let them run around and get all of their shots. The difficult part is when I have to be somewhere where something gets in the way of the signal, such as when the cast (one or both depending upon if they split up) goes behind a hill, in a tunnel in the mountain, behind thick stone or brick walls, etc. To make matters worse, production ignores me when I talk to them about wardrobe, so the cast is usually wearing what is essentially a plastic bag, or a series of thick and scratchy layers.

What I am dealing with is that the production just throws scenarios at me without consulting me, and expects me to just deal with whatever scenario they come up with. When I express that there are technical problems with a location (as an example). The answer is to just deal with it and make it happen.

This season we were actually given scout days, which is generous, but if there is some sort of impossibility on my end, we don't get alternative locations or viable solutions. And we always shoot the very next day after a scout. Tomorrow I am faced with this hiking trail that we scouted today. It's a small trail that goes through the woods (and lots of poison ivy), along a rock face, following a river and eventually back into the woods. The path is in parts very narrow, muddy, and has a steep drop into a river if one were to lose footing, which is a very possible scenario for me, since I am off balance wearing my bag, and cannot see my feet, and only have one hand free.

We will be rolling as we hike this trail, and I am somehow supposed to make the hike, keep up with the cast, stay out of their shots, get 100% reception, and not have clothing issues, all in a forrest with no leaves (high visibility), snow falling, slippery and muddy narrow trails, and sharp turns around mountains and rocks where reception won't travel through. I know you are all saying "put a zaxcom mic pack on them, hit record, and let them wander about". Well, that's fine, but I do need to also provide an IFB feed and perform various other tasks, not to mention that I only know where I am going to be the day of, and we always shoot in the middle of nowhere where we are states away from anywhere that would have anything like that to rent.

I am running a 788t, lectro smqvs, and ucr411 receivers, so although I have designed a system for this show that allows for so much, I am continually being asked to go well beyond most sound out of a bag capabilities, and although I am mobile in my bag setup, the demands of the show keep me from being highly mobile, especially in the conditions and locations we shoot in.

My question for you is what do you do when you are asked to accomplish the impossible, and when you speak up about the technical and physical difficulties you are faced with, you are told to just make it happen. Even worse in my case is that if I speak up and express my concerns as any technician would, people act as if I am not being a team player or some other rediculous none sense, even though I am clearly trying to find a solution to make this work, and showing interest for the sake of the project.

When the camera and RC (we use a lot of gadgets like remote controlled things) people have a problem, they get an "it's ok I know what you're going through, lets try something else" along with a pat on the back, but if I have a problem I just get a "make it work and get it done!"

I don't want to sound like a kid crying "life isn't faire" but really I just don't think I will be able to get everything they need and have expressed my concerns. But this show is really ambitious as far as what they think they can accomplish, and like I said, most of the time I make it work. But no one ever consulted me when they put the show together to see I it were even possible for a sound technician, and every now and then the fact that radio doesn't travel through rock mountains or get miles of distance becomes "such a burden" on production.

I just don't know what I can do to make these people more reasonable, and understand that I'm not jus there to record whatever happens, but also make them aware of what is and I not possible and try to engineer my way around problems that occur. Essentially, be a department head and technical advisor.

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It sure seems you are invested heavily in Lectro/Sound Devices gear, which should work excellently under many circumstances.  Though in this particular case - Zaxcom equipment would provide a solution - mini TC based recorders rolling around everywhere.  If you were to own a Deva or Fusion, you could use the rerecording function as well.  You could also utilize ZFR recorders - which are a cost effective solution.

 

If the gig is well paying enough - then the investment would pay itself off quickly.

 

-Greg-

 

(owner of both lectro and zax wireless, just so you know I'm not hatin on Lectro gear)

 

EDIT:  sorry I missed the paragraph where you talk about zax recorders...but the reality is in this case - this is a reality show - and the little I have worked on I have discovered most of the producers don't have enough experience/technical knowledge to know what ridiculous demands they are putting on you.  So to that extent, I don't know what to tell you.  Sit down with them, explain confidently and without a tinge of anger in your voice the technical limitations of the situation. 

 

Note - You can still accomplish many of the IFB demands with Zax wireless when/if you have a qrx receiver on a camera with IFB option.  The cameramen/women can still hear what they need to and a producer can as well.  As far as range issues with IFB and such - the only saving grace will probably be that at the end of the day, you have the tracks.

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You've done everything I would have done. You've offered alternatives, you've stated your concerns which are the same as anyone else would have, and they've ignored you. Honestly, it sounds like they are trying to bully you into complacency.

If they can't understand that you, the sound expert, can't get what they want but have alternatives that would work somewhat (get them clean tc stamped audio at least) and refuse to listen to the dude they hired because you know more about that job than they do, then it might be time to walk away.

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Greg, one of the major limitations of this show is the lack of a camera person. Like I stated, this is a first person shooter scenario, where the cast films themselves with handy cams and go pros. I have no camera to mount on, no tc to sync to, and the takes literally go for hours (I often run into issues with batteries running out during a take because we just never cut), so I do still need to be in there somehow making some sort of coherent mix (even though its all unscripted) for IFB purposes so the director can step in, explain the beats, and feed lines when needed. It's frustrating because I new to be there but can't be. My solution was the range, but when rf impenetrable terrain and buildings get in the way (or if the cast split up and go in very different directions) I will lose their wireless signal since I don't get the line of sight that I need. I feel like I've spoiled them by giving them the range and ability to do what they need to do without me needing to be close bye, but for every inch given they want a mile.

I think that as far as tomorrow goes, all I can do is my best regardless of what results I can get them, and then when we get back in town (tomorrow is the last shoot day of the season) bring in the powers that be and sit down and really go over the problems I have incurred based on how they set up the show.

I have the upper hand in that they couldn't just bring in another mixer because I designed my system for their shooting style, so not everyone is going to have that kind of a setup, and will likely not spend the money just to get the gig, but I don't want to make them not want to continue working with me, because they do give me a lot of work, which accounts for a good amount of my yearly income.

I guess the trade off is that a lot of their shows are easy studio gigs, so once I'm done in the trenches, things will be a little easier when I'm back on their other shows.

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To that end Jon,  you've done the best most any mixer can do. 

 

Gear aside - it's all about relationships.  If they like you and trust you, they should be willing to hear you out and hopefully the conversation is constructive!

I find I still need to educate clients all the time, it can get really frustrating.  I suppose I don't praise those producers/directors/cameramen that do "get it" often enough maybe.

 




 

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With the zaxcom wireless transmitters that have built in recorders, how would you be aware of problems? It solved the range issue, but can you depend on those recorders for hours on end? Not to mention the wardrobe issues. That one should be fixed with no questions asked.

I think realistically they're approach needs to change. If things don't go well and they're unhappy with the results, their ears may reopen to different solutions.

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I don't want to sound like the Prince of Doom, but I think the only way folks like that will wake up and listen is when things get really messed up. At that point, they have no choice but to open their eyes to addressing a problem. For your sake, I hope it doesn't get to that point. I think a post-season "debriefing" is in order, and maybe they will be more receptive to your issues going forward.

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First of all: Wow! What a mess. I admire your perseverance. 

 

Second: 

 

I'm with Steve here. Let the shit hit the fan... Sometimes it is the only way. I did the Swedish "Kitchen Nightmares" last spring and it was a mess production wise. At one time they wanted me to mix down 6 lavs and 1 boom to two channels and make it work because of budget. So I played nice and jacked a 302 to my 552, had two more lavs over my 4 channels already. I had a Zoom H4n to backup the outputs of the 302, so those channels were separated. And I also recorded backup on the 552. But I delivered the mix (which was acceptable but of course it was full of noise and quite messy.. we had to run between kitchen and dining hall all the time with one team only..) 

 

So naturally in the editing room they had a really hard time making the sound work and of course they blamed me for not being better. So I presented them with my recorded material and "saved" the show. And then I added a little speech to production managers and post production supervisor on how the technical limitations in that cheap setup destroyed the mix. After that, whenever additional channels were needed they provided a 788. That only happened once though, but still. I let shit hit the fan and cleaned it, and eventually they listened. 

 

I feel you. And I hope they start listening to your demands instead of demanding listening to IFB..

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First Post here, lurking for some time, enjoying this site, very much appreciated!

I am Sound Mixer from Munich, Germany, Bavaria....you know "Oktoberfest" :-)

My Advice would be to fix the Lavs to the Go-Pro. You would get clean sound there.

Proper Windshield for the Lavs.

Forget about the Range for IFB.No Chance, simple as that.

Make them Happy the Next Day by Watching the DVD.

Maybe the GoPros can record with an external Lav??

Maybe you should buy a couple of Zoom-Recorders and attach them similar

to the GoPros, dont forget about Windshields. MP3 Quality should do your Job.

Zaxcom with internal SD-Recording would definitely be best.

Call Production to make those come to the Set ASAP.

Good Luck, best Wishes, 

Albrecht Harms

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What I am dealing with is that the production just throws scenarios at me without consulting me, and expects me to just deal with whatever scenario they come up with. When I express that there are technical problems with a location (as an example). The answer is to just deal with it and make it happen. "

they keep raising the bar, and when you make it happen, you are lowering your bar... participating in the race to the bottom...

I understand the frustration involved, and sympathize, but if the company is successful,  they should be able to afford what it takes to properly realize their expectations...instead they are taking advantage of you, and the relationship you think you have with them.

 

" . The path is in parts very narrow, muddy, and has a steep drop into a river if one were to lose footing, which is a very possible scenario for me, since I am off balance wearing my bag, and cannot see my feet, and only have one hand free. "

RED FLAG Safety starts with an S, but begins with you. NEVER COMPROMISE on safety, it is everyone's job on any production.

You should not compromise on safety, and your production should not want you to.  The purpose of scouts is not to show what it will be, "take it or leave it", but to determine issues and solve them...

 

" this is a first person shooter scenario, where the cast films themselves with handy cams and go pros. "

then the cast can record themselves on Zaxcom's, or Zooms!  The producers can figure out the audio like they figure out the video!  after!

" so I do still need to be in there somehow making some sort of coherent mix (even though its all unscripted) for IFB purposes so the director can step in, explain the beats, and feed lines when needed. "

sure, they want to hear, but they do not need to hear!

 

" bring in the powers that be and sit down and really go over the problems I have incurred based on how they set up the show. "

if that will make you feel better, but you have pretty well given me the impression that it will be a waste of time...

get your final pay (you are probably not charging them enough), and move on... find more professional productions, and never feel the need to work for them again.

or

" I guess the trade off is that a lot of their shows are easy studio gigs, so once I'm done in the trenches, things will be a little easier when I'm back on their other shows. "

 

 

" I have the upper hand in that they couldn't just bring in another mixer because I designed my system for their shooting style, "

don't believe that.... 

 

Willkommen Herr Harms,  you nailed it!

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With the go pro you're going to have rigging.  I would get some cheap zoom and use those along with trying to get the wireless to your rig.  Cheaper than trying to go with Zax wireless when you're already full up on Lectro gear.  Might need to buy some extra lavs to do this.  Or recommend production get different cams that can actually get a good audio signal.  Sony makes some small cams with XLR inputs that would be perfect.  They have night vision as well.  Those would work perfectly.  You just need to clap for sync.

 

And explain to them that just because the GO Pros make things easier and cheaper for camera it doesn't have the same affect on the Sound Dept.  I hate to say I kinda agree with the let if fall apart scenario.  You did warn them.  Just don't look like you you didn't try to prevent it when it starts to happen.  

 

Good luck.

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It's kind of funny how these 'reality' style shoots suffer from unrealistic thinking by the producers. The more reality they crave the less reality they wish to be constrained by - ultimately, money being the reality they are most at odds with. I guess it's symptomatic of something at large across our societies.

If its such an economic and technical inconvenience for them to employ a hard working and honest professional as the OP perhaps they should go with camera mics and 'monitor' the 'reality' with walkie talkies.

D

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From what I read, you've tried to talk sense to them but they blow you off.

 

And, this very difficult show is about to wrap for the season but the producers have other work that is more reasonable.

 

I'm inclined to think that you would do well to not have any further discussions of your difficulties at this time. Why risk alienating the producers when you won't be working on that particular project again anytime soon? Lots of things could happen between now and when they decide to shoot additional episodes. The show could get cancelled. The hosts could be abducted by aliens or creatures from the other side.

 

Continue to work the studio assignments with them. When it comes time to shoot additional paranormal episodes you may have other assignments that preclude doing another season with them. And, if not, you could address the difficulties doing the show as part of the preproduction planning at that time.

 

David

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The last shoot went surprisingly well despite all odds. Because of the snow, the ground froze and was more stable, so as long as I took it slow there were no problems, and the producer/director was there with me making sure I got through safely, and pointed out any risky parts of the trail. I managed to get good enough reception to capture useable audio through all hiking scenes despite distance and lack of line if sight. The only real discomfort was the cold and the long hours.

I think you are right, no need to stir up any trouble until the next location show, but I will be sure to be diplomatic and thorough.

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That's excellent, Jon! Sounds like you handled the situation professionally and honestly. 

 

I've encountered several jobs were I was "this close" to walking off, but managed to have a discussion with the AD or someone below the boss and we worked it out. It helps when there's other crewmembers who realize that the "unrealistic expectation syndrome" is going on. 

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