Issue link: https://digital.copcomm.com/i/1525020
46 PRODUCTION SOUND & VIDEO – Fall 2024 Scott Marshall - Utility Sound Technician In September 2020, I stepped into the crew for the fourth season amidst the unique challenges of COVID-19. I embarked on a journey to support and adapt to the new normal of production. My role entailed adhering to stringent COVID-19 return-to-work guidelines, maintaining equipment hygiene, and overseeing a complex VOG system. This VOG system wasn't your run-of-the-mill setup; by strategically situating speakers indoors and outdoors, I facilitated the seamless transmission of directions from the Assistant Director to the entire crew, freeing them from the confines of a singular space, especially indoors. Initially met with skepticism, this innovative solution gradually gained appreciation as its efficiency became evident, showcasing our team's creativity and problem-solving skills. Additionally, sanitation became paramount, especially for equipment near actors. Every wire, transmitter, strap, and accessory underwent meticulous cleaning before and after each use, ensuring compliance with safety standards. As COVID-19 restrictions eased, a sense of normalcy returned, allowing for an entire four-person sound crew throughout seasons four, five, and six. However, following the WGA/SAG- AFTRA strike, many teams, including ours, faced staff reductions. Fortunately, I retained my position within this esteemed sound crew, and thanks to Estuardo Galvez's promotion to the Y1 position. Juan's team groomed me for increased responsibilities throughout each seasons and challenges, culminating in season six, when I assumed the core duties of the key utility. Wiring talent became one of my primary tasks, a huge endeavor as we wired between six to twelve daily in a three-camera world. Juan skillfully prioritized wires for optimal dialog capture. We fostered a sense of family throughout every season within our department and the entire cast and crew. The camaraderie was instrumental in our success, in devising many excellent workflows that helped us work efficiently while capturing great performances. One standout was our approach to wiring talent-wearing firefighting turnouts. We figured out how to fix transmitters and wires into their helmets. This meant they could move freely, doing almost any action while capturing close-and- personal dialogue. With the lav at the edge of their helmets, smack dab in the middle of their foreheads, we could snag crystal-clear dialog, even in chaotic, noisy scenes. Wiring talent is very complex and it all starts with reading the sides and watching rehearsals. I read the sides and create a wiring list organized by speaking order. This gives Juan the most effcient starting point for mixing the scene, moving from one fader to the next as the scene progresses. Wardrobe indeed plays a significant role in how we wire talent. On Station 19, we were fortunate to have recurring costumes that provided us with consistent results. Among these was the Nomax, a semi-formal attire, alongside the firefighter turnouts. Consisting of a simple button-up firefighter shirt tucked into long pants, the Nomax presented us with a uniform wiring system that we could rely on for every talent wearing it. Our process was consistent for every performer wearing the Nomax. We strategically placed the microphone between the first and second buttons of the shirt, with the wire running down to the transmitter on the ankle. Since about fourteen performers regularly wore this wardrobe, it was crucial to maintain consistency. We did encounter some challenges with the costumes. Sometimes the actors would take off their shirts or helmets during a scene. However, we always had backup plans to handle these situations, ensuring that we could address any wardrobe- related issues without affecting the quality of the production. We installed plant microphones in the firetrucks and ambulances, known as the Ladder and Aidcar. While we are familiar with placing microphones in regular passenger vehicles' visors and cup holders, firetrucks present a unique challenge due to their spacious interiors and ample headroom. Over the years, we have perfected our skills and developed specialized tools to place microphones near the talent discreetly. One of our most innovative solutions involved installing plates that enabled us to swivel and rotate three hundred sixty degrees at a moment's notice, making it easier to make precise adjustments for capturing dialog based on the talent's performances within the vehicles. Scott Marshall & Estuardo "Estu" Galvez