Issue link: https://digital.copcomm.com/i/1491451
34 PRODUCTION SOUND & VIDEO – Spring 2023 A. Each production tests and expands my limits. The mixers I work for have very high standards regarding the sound they deliver, which is why I appreciate working for them. In television or long form, The Old Man, Colin in Black & White, A Black Lady Sketch Show, and The Mandalorian had sound teams I tremendously enjoyed working with. Films such as Marriage Story, Bombshell, Licorice Pizza, Blonde, and White Noise have been among the best and most challenging set experiences I've had so far. Q. Describe the role of a sound utility on the set? What are some day-to-day activities a utility must perform? A. The utility sound technician manages all cast-worn transmitters and lavalieres. In addition, they operate a second boom for about eighty percent of principal photography. The position also requires handling timecode equipment and all client-listening devices. Units regularly surpass twenty on dramatic productions. The utility also operates specialty equipment such as voice of god, earwigs, playback speakers, and sound proofing. In between setups, the utility interfaces with the production office regarding equipment rentals, replacements, and logistics. They keep the Sound Department's payroll and clerical records. And those are just the core tasks— every production comes with its own delightful surprises. Q. In your experience, has the role of the sound utility changed during your career? Has it gotten easier or harder? A. It has gotten a lot more challenging but also more fun. The increase in responsibilities has become considerable, especially on sets where actors are expected to wear a radio mic at all times. The job has evolved from running cables for the boom operator to becoming a full-scale operating position. Responsibilities now include managing and maintaining all wireless equipment—a formidable evolution of the language in our contract, which was written in the early 1970s. While filming Licorice Pizza, production sound mixer Lisa Piñero each day regularly ran up to fourteen radio mics. On White Noise, that number increased to twenty a day for several weeks. Both directors wanted the creative freedom of letting actors converse naturally without losing even a syllable in the edit. Fortunately, Lisa had the trust and understanding of her producers to request additional sound technicians when needed. Yet, the outdated language in our contract places an unfair burden on the sound mixer who must negotiate for additional labor. I've often had to simultaneously discuss second boom assignments and mic over a dozen actors, each with their own set costumer. Getting this done often pulls the boom operator from rehearsals, which wastes production time and means no sound representative is on set during setup.