Versatility

[Mick]

Does anyone else do this? I often let either my boom man or my utility guy sit at the board and mix an occasional scene with not too much dialogue in order for me to be able to count on them to step up in the event that I'm late for work, incapacitated or for some other unforeseen reason. I think it's essential that all members of the sound crew know how to do each other's jobs. Whether I'm breaking any union rules or not I maintain this work ethic and it's come in handy quite a few times, especially when there's a good movie on in the craft service truck! TIC!

Regards

MIck

[Philip Perkins]

I don't know about rules but it certainly seems like a good way to give an up-and-comer who is serious about the biz a chance to get the feel of what it's like in the hot seat without having to do a whole job on their own.  Didn't Hollywood mixers used to do this kind of thing as a matter of course?  I missed out on this kind of education, much to my detriment I think.  Good on you for helping those folks along.  If you are on an ongoing project I'd think the producers would be thrilled to know that your crew can step up if something happened to you.

Philip Perkins

[Richard Lightstone, CAS]

Mick,

Absolutely. Good insurance and the best way to teach.

RL

[soundtrane]

I have trained two young guys from film school in the course of two features, they were my utility guys.

-vin

[RPSharman]

I learned by watching, mostly, filling in a few times as I was moving up.  As a utility guy, I found a mixer's willingness to let me peer over his should (no too lurky, of course) to be very valuable.  I learned by watching and listening, observing the boom operator and his placement, along with the mix of the wires if any were in use.  I listened quietly while the mixer griped to himself about what he might have done differently if he'd had another take, or wished out loud that the boom operator had done something differently.  I absorbed tons of information from mixers that hired me as a day player, if they let me.  If I heard something particularly good, I observed the technique.  If I hear something particularly bad, I also observed the technique.  The gear was never the problem, I learned any arrangement quite quickly.  A mixer who is willing to teach is a good thing, and not in violation of any rules by letting his guys sit in the chair from time to time.  I would caution leaving early without telling the producers, only to have them discover their utility guy (or intern) mixing a scene.  It makes them rather unhappy!!

Whenever I hire someone new, I always try to show them how my gear is configured and how I like mix, that way I hope that if a long-term relationship is established, that person might be able to sit in my chair if needed.  This is also how I separate the paycheck getters from the sound folks.  I also think understanding why I make certain choices regarding how to mix a scene will help them to work better for me in the long run.  Different mixers have different styles, and if you don't clue your crew in on what you want, then you'll never get it.

It's not just a good opportunity for someone to learn, but a good insurance policy for your reputation to have someone be able to slip into your chair in the event of your absence, for whatever reason.

Robert

[Roger Slater]

Absolutely. My boom operator knows his way very ably round my cart and the Deva and can stand in to mix if need be. I was taken ill on set last year and he stepped in and kept things going with the 3rd man booming.  On a day to day basis I often give him some of the simple scenes to mix which gives me a chance to make that necessary phone call, go for a leak, read a script for the next episode or whatever.  It also means that me being held up by a traffic accident on the way in, doesn't hold up production.It is how I learned and how we move up the ladder.

Regards

Roger Slater AMPS

Malvern UK