Issue link: http://digital.copcomm.com/i/1380878
Summer 2021 – LOCAL695.ORG 37 more efficient production, especially when the schedule is king. Having an eye to the future, and providing a safe environment for people to learn and develop, will encourage more success for members as the additional workdays will do a lot to ensure that our members are kept busy. are building a foundation of success and talent to make our craft better across the board. It was with this in mind, and conversations with other mixers, that I learned about the Local's Y-16A position, the trainee position that encourages a safe, learning environment on set and avoids displacement. I once again went back to our producers. Good Trouble prides itself as being a diverse show, promoting minorities through casting and storytelling. I asked our incredibly supportive Producer, Chris Sacani, about the possibility of helping to promote that same diversity by bringing on a trainee. To her eternal credit, she went to bat and presented the idea to the network, who okayed us bringing on a trainee for season three, as well as continuing our current practice of bringing in extra hands as and when needed. We were joined in season three by Terrell Woodard. Ironically the separation and controlled COVID protocols helped in training, with each person's role within the department being more defined and isolated, allowing Terrell to watch and find the time to ask questions. Safety and sanitation protocols on some shows have created space for a fourth person on the team, often in the form of an on-set Sound Utility and a base-camp Wiring Utility. More shows are learning about the trainee position and embracing the idea. I've spoken to many mixers who are working with one or both additions to their crew. In an ideal world, a fourth person would be the norm to account for the expansion of work that our department has seen over time. An additional Utility or Sound Service Person in either a full-time or partial capacity, and a trainee would be beneficial. An additional crew member allows for a much Gambell's sound cart Jamie Gambell & crew. L to R: is Jamie Gambell, Mitchell Gebhard, Daniel Quintana, Johnny Evans, and Terrell Woodard L to R: Iris von Haas, Terrell Woodard, Johnny Evans, Jamie Gambell, Daniel Quintana Jamie Gambell uses a Cantar X3 and Cantaress Control Surface. His Boom Operators use Schoeps MK41/CMC1 with a Cut 60 Low Cut capsule indoors, and the Mini CMIT outside. He switched to the Shure Axient system, and uses the smaller ADX1M packs, with DPA 6061 lavs as his go-to mics.