Issue link: http://digital.copcomm.com/i/1380878
36 PRODUCTION SOUND & VIDEO – Summer 2021 while bringing cast through the process, working with wardrobe to ensure that mics are hidden and effective. This ensures that production is able to maximize the use of the cast, that they are kept comfortable, and able to perform, and we are able to record a usable sound track with options for post. Two things have become very apparent to me, firstly, the role of the Utility is no longer the "entry level" position that it was once seen to be, and secondly, more often than not, the workload of the Sound Department has grown to the extent that we should be asking for a four-person department. Indeed, I have made it part of my initial conversation with producers. First, the workload. Before COVID, I asked about the possibility of having that additional person be a permanent part of the team, but our producers hadn't budgeted for that expense out the gate. However, I was able to get them to agree that when the cast count got above a certain number, we would bring in an additional Utility to help with wiring. It has proven to be very effective, and, when the producers started to talk to me about how to continue filming during the COVID era, while remaining safe and efficient, we continued to use this model. It may seem counter-intuitive to have more crew during a pandemic to some, but by having those extra hands, we are able to limit cross-contact and keep equipment sanitized and safe in a way that doesn't add time to the day. I also switched to the Shure Axient system to prepare for our return. I could write a whole article on the sound quality and confidence in wireless management, along with their battery life and hands-off control features that make them the ideal tool for this type of world we currently film in, but that'll have to wait for another day! Good Trouble is the second show that I have worked on with a four-person sound team. The other was It's Always Sunny in Philadelphia, season fourteen. That show had a permanent four-person team (Boom Operator Daniel Quintana, Utility Alexis Schafer, and Sound Service Person, initially Kraig Kishi, later, Yohannes Skoda). It proved to be an excellent model, and definitely another option for productions to consider a permanent addition if the budget is tighter. The role of Sound Utility has changed enough so that it is far from an entry-level job. One thing that became apparent to me, that we, as a local, need to work harder at mentoring and assisting those looking to join. Not only to ensure that they are doing well, but that we collectively Day one on Good Trouble season three. L to R: Jamie Gambell, Terrell Woodard, Daniel Quintana, Johnny Evans