Issue link: https://digital.copcomm.com/i/1525020
44 PRODUCTION SOUND & VIDEO – Fall 2024 also dealing with firetrucks and actors opening and closing doors and compartments, putting away tools, uniforms, hoses, helmets, Velcro, etc. I must underscore the pivotal role of my crew. Over my five-year tenure on the show, I began with Gary Boatner, my Boom Operator, who was with me for almost twelve years until his retirement. Following this, I brought on Chris Walmer, who later decided to move on due to the travel distance from the studio to his home. Then, I welcomed Jacques Pienaar, a fantastic addition to my team, a great person, an excellent Boom Operator, and a good friend. We also had Estuardo Galvez, as our Utility Sound Technician/Second Unit Mixer, my right hand, and a good friend. He has worked with me for almost eleven years. After the onset of COVID-19, we added a fourth person to our team, Scott Marshall. We nurtured and trained Scott, who is a quick learner. We familiarized Scott with our workflow. His addition to my team was a true blessing, as Scott significantly eased our set life. Today, my crew and I are always in sync, and are more than coworkers; they are like a family to me. I also extend my gratitude to all the other sound brothers and sisters who have supported me throughout the show. I was well aware that I would be dealing with intense scripts and emotional scenes that would test the limits of our cast. We had a high track count because occasionally, we will do a crossover episodes with Grey's Anatomy. I aimed to capture the actors' dialogue as accurately as possible to avoid the need for ADR. One of my most significant challenges was staying alert and ready for an actor to go from a whisper to a scream with no warning. While we sometimes rehearsed to prepare for these Scott Marshall, wiring one of the cast Scott Marshall booming a scene at Griffith Park