KGraham045 Posted November 12, 2018 Report Share Posted November 12, 2018 I am on a union reality show and Kit was provided... by VER of course... Production decided to shoot in the rain for 8+hours and no proper rain gear was provided just trash can liners. First thing to go was the IFB TX. So the producers and director were not happy...now the kit definitely has rain built up in the mixer and RXs. At least the Shotgun was a 416 which withheld the water abuse... production expected me to mix 7 wireless and randomly boom with characters in and out of scene all from a bag while standing in the rain chasing cameras.... I explained to them I can’t mix through a trash liner in the dark and production seems pretty pissy about the gear having water damage... We shouldn’t be shooting in the rain but this entire situation could have been avoided by having a boom op on wireless.... and mixing from a cart under a pop up tent with antenna distribution and a couple shark fins... I just wanted to vent but out of curiosity how do others handle this? Quote Link to comment Share on other sites More sharing options...
Philip Perkins Posted November 12, 2018 Report Share Posted November 12, 2018 Look on the bright side--your gear wasn't ruined, so you aren't scrambling for rental replacements and having to fight with the show over loss and damage while getting it fixed. Yes, you should have help. Probably all of the departments are feeling overwhelmed and ill-used at this point. But all you can do is A: tough it out (while being glad that it is VER that is having all the equipment issues) or B: say you won't continue without a boom op, and be ready to walk if they say no. You say this is a union job. Was the show's deal with the union that they get to have a one-person sound dept even with all that gear? Quote Link to comment Share on other sites More sharing options...
KGraham045 Posted November 12, 2018 Author Report Share Posted November 12, 2018 Yeah, I’m not sure what their agreement was. But it’s the kind of show that has their mixer run off and wire talent while they have a PA Boom non important OTFs strait to camera.... its funny too bc all the cameras have a TC module but they don’t have lockits... Quote Link to comment Share on other sites More sharing options...
JonG Posted November 12, 2018 Report Share Posted November 12, 2018 My #1 rule is to not take gigs that provide gear (especially from VER!) unless there is a good reason for it (other than getting a free sound package with the camera rental) such as an Audio Sup that is providing MULTIPLE SOUND PACKAGES for a shoot with MULTIPLE MIXERS for continuity purposes. If the reason a sound package being provided is because production was just trying to be cheap, you will ALWAYS have a lot bigger problems coming from the sh*t storm above the line. And you will be waiting downstairs and that ceiling separating you from them is going to leak on your head, and you will catch the blame for the problems that they create. Don’t fall for their bs and pass on these garbage gigs. Honestly, you’d be lucky if their provided sound package even functioned 100% and included all necessary cables and parts. I’ve seen missing faders on a CL-8, wireless that were completely out of commission, batteries that don’t hold a charge, wrong gender cables, you name it. VER is a crap company and anyone who rents from them should be put on a red flag list. Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted November 12, 2018 Report Share Posted November 12, 2018 +1 what JonG. said. I've found that my choice with such productions takes one of two paths: 1) Just politely say no: "Sorry, I'm not available." 2) Quote it really high. I've had times when they would keep coming back with incrementally better offers. One time they worked their way up to within $50 of my quoted rate with gear and I still passed. Two days ago I received a text offering a low rate for my services and stating that the cameraman was furnishing the sound kit. I responded with my full rate w/gear, and to my satisfaction, never heard back. A couple of months ago, I was certain that I would avoid working on a reality show by quoting full rate in response to their low-ball rate. They came back with intermediate offers which I passed on, then, to my chagrin, accepted my rate. The days turned out shorter than expected and the folks weren't too difficult to work with. Which highlights an important factor to remember: People typically value something by what it costs. So, if you want to be more highly valued by a production, charge more. If you want to be more readily dismissed, charge less. And don't be afraid to just say "no." It's really empowering. Quote Link to comment Share on other sites More sharing options...
codyman Posted November 13, 2018 Report Share Posted November 13, 2018 16 hours ago, John Blankenship said: And don't be afraid to just say "no." It's really empowering. Amen. Remember, the word "No" is a complete sentence. You don't even have to explain yourself, just say "No" to crummy rates/situations. Quote Link to comment Share on other sites More sharing options...
Dave Rainey Posted November 13, 2018 Report Share Posted November 13, 2018 first instincts in this situation is to pass. mall the reasons meantiones by others. Second, not sure how they get away with one man department on a union show with that kind of workflow and amount of wires/booming, etc. i would not do it as a one man department. Ever. Too insane. Quote Link to comment Share on other sites More sharing options...
Recommended Posts
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.