Issue link: http://digital.copcomm.com/i/1122919
30 Read the script as soon as possible, looking for scenes that might have challenges for the Sound Department, or an opportunity for you to make an esthetic contribution to the project. Speak with the director at the earliest opportunity to discover what his or her feelings are regarding sound and its relation to the project. The director may have sound ideas that are impractical, if not outright impossible, but saying: "I can't do this," is always a bad idea. I prefer saying: "It would be even better if you did this instead." If I can convince the director it was her or his own idea, so much the better, because they will be less likely to fight me later on. The most important question to ask the director is: "What do you want me to do if there is a sound problem during a take?" (It probably won't be "Jump up and yell 'Cut!'") The second most important question is: "What do you want me to do if I need an actor to speak up?" Believe it or not, the "Don't bother me with sound problems—I'll loop it," is by far NOT the worst attitude. If the director doesn't care about the production sound, that leaves me free to do whatever I want, so long as I stay out of their way. The worst type is the director that looks over my shoulder and tells me what to do. Or the producer— fortunately, I found out about him before I accepted the job (to replace their "bad" mixer) and turned it down. The show lasted five more miserable (for sound) episodes before it was cancelled—I talked to the replacement mixer afterward. If I find myself stuck with one of these shoots, I ask the director either: "Why did you hire me if you wanted to mix the show yourself?" or as many questions as I can think of about every shot, even when the director doesn't come over to my cart first. This results in either: A, my being fired; or B, being left alone for the rest of the shoot. So far, I haven't been fired. If you are not familiar with the DP, gaffer, and/or key cast members, research their attitudes toward sound by interviewing other mixers who have worked with them. (Search IMDb for the info.) If you can't get any of your regular crew people, be careful about accepting recommendations from other mixers. Be particularly skeptical if they won't or can't tell you what the person's weaknesses or shortcomings are—everyone has some. And personalities are important—a detail-oriented PRODUCTION If they are being used on the show, go to the dailies ("rushes" for those of you on the East Coast) whenever possible. Besides the possibility of getting you a free meal, you will have a chance to judge your work without the distractions of recording it. I find it usually sounds better than I remember it—if it sounds worse (though still "good enough"), I need to find out why. Also, if someone questions some aspect of the production track, I am there to explain it before the Sound Department gets blamed for something that wasn't its fault—a bad transfer, for example. Sadly, the pace of modern production often eliminates screening the footage in a proper theater for the director and keys on a regular basis—the director and DP have to look at a DVD or flash drive of the shots on a video monitor between setups— utility person may be perfectly compatible with one mixer but annoying to another. (Again, this isn't a made-up situation. I did a TV pilot with a "highly- recommended" 3rd person that turned out to not know how to do anything "my way," and took a very long learning curve to get up to speed. Even crew you have used before need to be vetted if they haven't worked for you recently. They may have changed their styles from working for other mixers, or just been away from the business for several years. Go on all the location scouts. (Of course, you should make every effort to convince the production company that your presence there will be worth far more than what they pay you.) I know that when I see a practical location next to an automotive tire and brake shop and under the LAX flight pattern, the UPM will respond to my request for an alternate venue with: "The director likes the look, it's easy to get the trucks in and out, and the rent is cheap." Why I do go is to get a head start on solving the sound problems I find, so that on the day I will have what I need. For example, a courtyard with a dozen splashing fountains may need two-hundred square- feet of "hog's hair" and a hundred bricks to support it just above the water's surface, and this is not likely to be available at a moment's notice from the Special Effects Department.