Issue link: https://digital.copcomm.com/i/1487666
C A S Q U A R T E R L Y I W I N T E R 2 0 2 3 29 Getting on to the more intricate bits, like managing expectations and identifying challenges, and then solving those challenges, I have found that most folks work in a similar fashion as far as delegating authority and the inter-department hierarchy. From decades-long PSM's like Simon Hayes CAS, Whit Norris CAS, Jim Tanenbaum CAS, Sara Glaser CAS, Aron Siegel CAS and more, the common theme is that the mixer has the ultimate responsibility on all decisions. This, I think we all agree, is as it should be. However, autonomy to make decisions and solve problems is equally shared amongst their crew with the unspoken understanding that the mixer makes the final call and bears the ultimate load. When it comes to the navigation of all things not directly related to pushing faders, the delegation of duties seems to have changed a bit over the years, but has settled into a fairly uniform pattern. Felipe Borrero CAS comments: "I used to take charge of wiring. [It is a] certain comfort knowing where the microphone is when recording. But with time, utility/2nd boom [were trained so they] are in charge. The shots are discussed with the boom operator and they take control as to the execution, of course, working together with the 3rd. The office relationship with the coordinator is handled by the 3rd, [while] also maintaining stock of expendables, rotation of rechargeable batteries, and caring for trailer and carts. Anything to do with the set is handled by the boom operator. I would step in if there is a situation that they cannot handle. Producers, production managers, editors, anything post is handled by me. Set costumer is handled by the person wiring, usually the 3rd in my case, though sometimes the boom operator or whomever has the best rapport—so that leaves me out." Sara Glaser CAS adds this: "In the internal departmental hierarchy, at the end of the day, the production sound mixer is the department head and therefore, has the final say. Someone has to be the person. I do like to hire the best people I enjoy working with. We work long days in a small department. Finding your crew is critical. Every position is critical. Most of the time, we work with people who have similar work approaches. My boom op runs the set and I am in constant communication with them at all times. My utility is doing everything that is needed to support the shot (rugs, wires, prepping plant mics, shoes, noisy things on set, etc.). My utility is also my 2nd boom op and I have two boom ops working anytime I can. Who does what is often determined by what is going on in set, in that moment, and what is the priority. It is an ever-changing environment. Fluidity and adaptability in the department is a must. We're a team department and hierarchy comes into play when it's needed. I often say that the mixer runs the department, the boom operator (1st AS) is the ambassador to the set for the sound department, while the UST (2nd AS) keeps the department running smoothly and builds relationships with other departments." Simon Hayes CAS describes it very succinctly. He has had the same two boom ops for many years and they are all three in symbiotic tune. The 1st AS manages the set and all the booming and plant mic efforts. The 2nd AS handles all the lavs and 2nd boom work. The sound department coordinator handles most of all the rest of the admin tasks, supplies, emails, and communications with other departments and the production office. The mixer is then left to do one thing (albeit an expansive thing), and that is focus on the art of sound for film. This includes participating in the creative process, working with the director and producers to share and help create the real version of the imaginary vision of what the story is. But wait ... sound department coordinator? What is this you ask? Indeed. It is the appropriate title for the UST who actually does this level of work. And I support it fully. In the commercial, corporate, and bag-rig world, the